dinsdag, maart 26, 2019

Richard Prince #7




























Richard Prince's(?) studio,Harlem, New York City. Completed in 2014.

"A 4-story, 11,000 sf. manufacturing building with 2,100 sf. exterior space was converted into an artist studio and gallery for a renowned artist. To provide a clean space for creating and for hanging art, all mechanical, electrical and plumbing are wrapped around the existing core, leaving the rest of the floor plan as an open space. The core is treated as a box inserted into the space. The box is clad with white MDF panels on hangers, which can be replaced easily when needed. Attention to detailing, materials and custom lighting removes all visual clutter and provides well-proportioned and well-lit spaces ideal for making and exhibiting art. To provide a unified minimal space, Buro created a series of bespoke stainless steel details that was carried through all floors of the project.

The design converts the existing adjacent lot into an exterior space for sculptures with cast-in place concrete walls and slab."

(bron: Peter Murdoch en Büro Koray Duman, foto's: Peter Murdoch)

> Richard Prince

Richard Prince #6
















Richard Prince's studio, Rensselaerville, New York. (bron en foto's: Peter Murdock)








(bron: Büro Koray Duman, foto's: Peter Murdock)

"Like Donald Judd, who famously housed his art in store-fronts around rural Marfa, Texas, Richard Prince has been reconfiguring his own surroundings for nearly two decades. The 65-year-old artist (....) moved into a farmhouse over twenty years ago. It sits at the end of a winding and wooded lane in the Catskill Mountains, which is 200 miles north of New York City. The artist told friends at the time that he wanted to live and work there because no one would visit him. Now, finally, the appropriation artist is more willing to receive company.

Prince has steadily amassed nearly 300 acres around his farmhouse and studios in Rensselaerville, New York since 1996, for the purposes of which, after his own complexes – the artist will use to build a space for his Ryder Road Foundation. Prince will finalise details over the next five years, he told WJS. However the artist’s plan for the foundation is to show emerging artists that he admires, such as painter Genieve Figgis. As well as an insight into Prince’s own work being created in studio spaces nearby.

Over the decades that the artist has resided at the location, Prince has built or converted at least half a dozen buildings to suit his particular creative sensibilities. This includes a former bank where the artist now displays his rare-book library – the most important of which are not on display but housed in a vault – to a former hunting cabin whose exterior he has clad entirely in vinyl records. Inside Prince’s Vinyl House, the artist has fitted speakers to play loud music whenever anyone opens the door, the disco ball dangling overhead actually belonged to James Brown.

The grounds that surround Prince’s studio compound are also home to a number of large-scale sculptures that the artist has never exhibited before. These works include six totem-pole-like towers he created by impaling and suspending dozens of black rubber blasting mats, the kind used by highway construction crews to keep shards from detonated rocks in place.
....
Prince’s compound also houses a hangar-like building – this is the artist’s “body shop” which contains a huge monster truck and other works in progress – a bronze cast of a gas tank painted iridescent green, a hubcap filled with stained glass; and of course the artist’s Muscle cars are a frequent sight.

“A lot of stuff here I don’t consider art, or at least it didn’t begin as art,” Prince says, steering his black Dodge Challenger around his compound on a rainy afternoon. “I’m just trying to make something I haven’t seen before. Cool stuff.”
...."
(bron: Artlyst)

> Richard Prince

Robert Motherwell #13


Robert Motherwell in his Provincetown studio, 1969. (bron: Architectural Digest)

maandag, maart 25, 2019

Richard Prince #5


Richard Prince in his studio. (bron: The Village Voice), foto: Gordon M. Grant)

Zie ook de post van 11 oktober 2013 (hk).

> Richard Prince

Chris Burden #4


Approaching Chris Burden’s property, Topanga Canyon.


Looking down on the studio, 2012.






(bron: Adam Lindemann)

Erwin Wurm #4














Erwin Wurm photographed in his studio in Limberg, Austria. (bron: artflyer)

> Erwin Wurm

Richard Long


Richard Long in an unknown location during the execution of one of his field works, 2971(?). (bron: kabk)


> Richard Long

Christo #7


Christo in his studio working on a preparatory drawing for the floating piers, New York, 2015. (bron: designboom, foto: Wolfgang Volz)

> Christo en Jeanne-Claude

mijn atelier #38


In mijn atelier als onderdeel van Artist In The World. (foto: André Smits)

> Harke Kazemier
> Harke Kazemier | facebook

zondag, maart 24, 2019

Richard Artschwager #3


Das Atelier, 2009(?).


Regale voller Material aus dem Baumarkt machen deutlich, wie eng bei Richard Artschwager Kunst und Handwerk verzahnt sind. (bron: Architektur & Wohnen)

vrijdag, maart 22, 2019

René Magritte #4


Duane Michals: Rene Magritte, 1965. (Collectie: SFMOMA)


Rene and Georgette (Multiple Exposure), 1965.


Nude Painting (Interior Magritte Home), 1965.


Terrarium ( Interior Magritte's Home), 1965.


Rene Magritte in Bowler Hat (Multiple Exposure), 1965.

"....
'Among my pantheon of myths, Rene Magritte casts the furthest shadow of illumination,' says Duane Michals.

'I was 33 and he was 65 when I visited him in Brussels. He was a contradiction, a surrealist who lived like a banker with the kaleidoscopic mind of an alchemist. He was very kind to me, giving me carte blanche to his treasures. I walked all the way back to New York from Belgium. My visit still lingers with the eyes of my portfolio.'
...."
(bron: Time, foto's: Duane Michals)







"'If I indulge myself and surrender to memory, I can still feel the knot of excitement that gripped me as I turned the corner into Rue Mimosas, looking for the house of Rene Magritte. It was August, 1965. I was thirty three years old and about to meet the man whose profound and witty surrealist paintings had contradicted my assumptions about photography.'
...."
(bron: lens culture, foto's: Duane Michals)