Personal safety concerns have pushed some women and trans artists to forgo studio visits, further narrowing their access to opportunities in the art world.
Paddy Johnson answers your questions about art fairs, visibility, and frustrating studio visits.
Eight artists, curators (and yes, even a meme account) weigh in on the benefits of screen-sharing, PDFs, and even personalized Zoom backgrounds
Here’s what I learned from an intimate studio visit where these artists showed me their process, vision, and the goals fueling their work.
What do you say when someone asks, ‘How did the studio visit go?’
Exploring the work of an artist who rarely shows in New York.
There is something wonderfully incongruous about what Richard Hull calls his “stolen portraits.”
In 1980 or ’81, I met Philip Allen through his childhood friend, the painter Jon Imber, who died of ALS on April 17, 2014, at the age of 63.
Despite the hue and cry about zombie formalism, there is a lot of very good painting going on these days.
The first work by the Irish artist, Denis Farrell, which I saw was a box titled Ukiyo (2011), containing seventy equally-sized, abstract watercolors. Ideally, the watercolors are supposed to be framed and mounted across all the walls of a gallery, becoming a sequence inviting the viewer to look at each work.
I first went to Marilyn Lerner’s studio shortly after I reviewed her show at John Good for Artforum (May, 1989), and have gone periodically ever since.
John Willenbecher tells me that his recent paintings are about “connecting the dots.” One of his lifelong interests has been the night sky – abstraction in nature – which he traces to his childhood interest in astronomy while growing up in eastern Pennsylvania.