maandag, juni 18, 2018

Antony Gormley #9

Antony Gormley and assistants in his studio. Stills from the video "Antony Gormley in the studio". (bron video: White Cube Channel)

"Antony Gormley discusses his practice in relation to studio process in this film.
Gormley describes his studio as a laboratory where his assistants 'listen' to the work and this short film gives a glimpse into this very collaborative working method."

> Antony Gormley

Karin Bos #4

Karin Bos, the artist studio in between two shows. (bron: Karin Bos | facebook)

> Karin Bos
> Karin Bos | blog

zondag, juni 17, 2018

(nieuw werk)

Harke Kazemier: zonder titel /untitled, 2018.
olie viltstift en pen /oil, felt tip pen and pen on canvas
18 x 24 cm

> Harke Kazemier
> Harke Kazemier | facebook

vrijdag, juni 15, 2018

Karel Appel #12

Karel Appel in seinem Studio, Rue Brenzin in Paris, 1962. (bron: Sammlung Essl, foto: Daniel Frasnay)

> Karel Appel Foundation

Jean-Michel Basquiat #7

Jean-Michel Basquiat's studio on Crosby Street, New York, 1983. (bron: sinsin, foto's: Roland Hagenberg)

Julie Mehretu #6

Julie Mehretu in her studio. (bron: glass, foto: Robin Friend)

Robert Longo #5

Robert Longo's studio. (bron: glass, foto: Robin Friend)

> Robert Longo

donderdag, juni 14, 2018

Karel Appel #11

Karel Appel in zijn atelier in Parijs, 1950.

(bron: NOS)

> Karel Appel Foundation

Ton van Kints

Atelier van Ton van Kints, Den Haag. (bron: Ton van Kints)

Atelier overzicht, 2014. (bron: Galerie van den Berge)

Ton van Kints in zijn atelier, Den Haag. (bron: The Artists In The World, foto's: André Smits)

Atelier van Ton van Kints. (bron: Stroom Den Haag)

> Ton van Kints

Pieter Defesche

Pieter Defesche in zijn atelier. (bron: Galerie Mia Joosten, foto: Nico Koster)

woensdag, juni 13, 2018

Kai Althoff #2

Kai Althoff. (bron: Royal Book Lodge)

Kara Walker #6

Kara Walker with works in process, 2016. (bron: W magazine, foto's: Ari Marcopoulos)

Kara Walker: Securing a Motherland Should Have Been Sufficient, 2016. (bron: Frieze)

> Kara Walker

Kara Walker #5

Kara Walker in her New York studio, 2014. (bron: The Wall Street Journal, foto's: Tina Barney)

Drawing at home in Brooklyn.

Kara Walker in her studio.

Kara Walker in her studio working on The Republic of New Afrika at a Crossroads (2016). (bron: Vulture, foto's: Ari Marcopoulos)

Kara Walker's "The Republic of New Afrika at a Crossroads" in her studio,2016 (?). (bron: The Cleveland Museum of Art)

Kara Walker: The Republic of New Afrika at a Crossroads, 2016. (collectie: The Cleveland Museum of Art)

Kara Walker in her temporary studio space in Rome, 2016(?). (bron: The Village Voice, foto: Ari Marcopoulos)

> Kara Walker

donderdag, juni 07, 2018

Julie Mehretu #5

Julie Mehretu in her temporary studio in the former church of St. Thomas the Apostle in Harlem, 2017.

It’s a sunny spring morning, and inside a deconsecrated Harlem church, ­artist Julie Mehretu’s assistants are ­riding hydraulic platforms up the face of one of two ­towering paintings—canvases so monumental, at 27 feet tall by 32 feet wide, that Mehretu’s Chelsea studio could not house them. As the team painstakingly screen-prints tiny black squares in places, Mehretu stands below, ­parsing the frenzy of gestural black marks that she herself has stroked on.
(bron: Architectural Digest, foto's Jason Schmidt)

Soaring midair on a mobile platform inside an unused Harlem church, she has been working and reworking two towering paintings taking shape on opposite walls, a monumental commission for the San Francisco Museum of Modern Art.

For the last 14 months the vaulted neo-Gothic nave has served as Ms. Mehretu’s temporary studio as she executes the most physically demanding, politically charged and collaborative work of her career.
Ms. Mehretu made her first marks on the canvases in the days right after the November election. It was her shock that moved her to rapid action and she said the current “miasma” informed her improvisational language of roiling calligraphic brush strokes and erasures. She is interested in what “gestural abstraction” — her intuitive and personal expression — ”can conjure in this political moment,” she said, adding that the works “are trying to make sense of where we are in our country right now.”
(bron: The New York Times, foto: Nathan Bajar)

Julie Mehretu in her temporary studio in the former church of St. Thomas the Apostle in Harlem, 2017. (bron: Marian Goodman Gallery)