Arts
fromHyperallergic
1 week agoA View From the Easel
A small, adaptable studio provides calm, supports varied artistic practices—drawing, performance preparation, archival work—and becomes a communal space for collaboration and care.
#studio-practice
#studio-practice
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#painting #mixed-media-sculpture #performance-art #archival-work #creative-process #mfa #residency-options
fromHyperallergic
1 month agoA View From the Easel
I have made a mural before, and it was a great way to contribute something free to the city. I love the idea of consuming art at no cost, and I think this was the perfect way for people to see my work out in the wild, not having to own anything, and return back to it whenever they feel like it.
Arts
Arts
fromHi-Fructose Magazine - The New Contemporary Art Magazine
3 months agoHappy Crying: The Art of Rachel Hayden Balances Tension With Whimsy - Hi-Fructose Magazine
Rachel Hayden's paintings fuse whimsy and tension through peculiar motifs, symmetry, and disassociated figures while she balances art practice with assistant work and studio time.
fromVulture
3 months agoHarvey Fierstein Is Now a Full-Time Quilter
The industrial-size device includes a computer interface for creating precise patterns, but he prefers to use it like a pencil and paper, doodling swirls directly onto ice-dyed velveteen. The dye is a recent addition to his process. "You go through these periods when the fabric does the talking or when the design does the talking," he tells me. Currently, the fabric is yelling.
Arts
Arts
fromArchitectural Digest
3 months agoArtist Simone Bodmer-Turner Trades New York City for Rural Massachusetts, Expanding Her Creative Practice With Partner Scott MacDonough
An artist resumed ceramic production, developing a tableware line while integrating craft, food-rooted practice, and collaborative site-specific interior installations.
fromHi-Fructose Magazine - The New Contemporary Art Magazine
4 months agoLarger Than Life: The Sculptures of Kazu Hiro - Hi-Fructose Magazine
There are new mixed media sculptures in your Blue Acid show. They combine 3D elements with 2D painted planes which are almost billboard-like presentations intermixed in the work in a novel way. How do you approach such a thing? One of the great things about making art is discovering something that sprang from seemingly nowhere. In retrospect it looks logical but in the moment it's an epiphany and suddenly it's exciting to explore it.
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