woensdag, april 30, 2014
dinsdag, april 29, 2014
Fiona Ackerman: TIME ENOUGH FOR EVERYTHING – (Atelier Alexander Seiler), 2012.
Fiona Ackerman: WOMAN BY A WINDOW – (Atelier Alexander Seiler), 2012.
Fiona Ackerman: INVASION – (Atelier Gregor Hiltner), 2011.
Fiona Ackerman: WHAT HAS ALREADY BEEN SAID IS STILL NOT ENOUGH – (Atelier Gregor Hiltner), 2011.
Fiona Ackerman: PARADIS – (Atelier Luc Paradis), 2012. (bron: Fiona Ackerman, Studio Paintings)
SM: So you’ve been visiting other artist’s studios for a while and continue to do so. What do you achieve through these visits? What’s available at another artists’ studio that may not be available at your own?
FA: Well it started in my own studio a few years ago; I started a project where I was doing all these abstract paintings and I decided to pull out different reoccurring symbols in the paintings and put them on their own sheets. I’d been sitting in my studio with all this work that I’d been staring at for months and months, and I felt tired of looking at it. I didn’t particularly want to talk about it either. I had this big blank wall and I just started to put up all these sheets that I’d collected to just see how they looked. That kind of launched me into this whole idea of painting my environment as I build it, in my studio. So, then I took those sheets and ended up going into this whole series of paintings based on painting those sheets which led me into painting my studio, because I moved away from the wall and looked at the whole environment. Then I really started to use that up a lot, where I felt I was kind of wringing it out where it was saturating itself.
At this point I went to Germany to visit my father who’s also a painter. I visited his studio and took some photos of his space, which grew into more paintings of his space. Then it became an interesting challenge. Going into others spaces, it’s not always obvious what I can bring into their world that is of my world. So I go in and see what I can find, then I bring it back to my studio and work it out and transform it into something of my own.'
...." (bron: SadMag)
> Fiona Ackerman
Studio, Vancouver, 2012
FA: A good studio should have adequate light and at least one wall that you can stand far away from. It’s also important to me that space not be precious in any way (I hate having to worry about spilling on the floor) and that I have privacy. Any more is much appreciated gravy." (bron: from your desks)
Studio, Vancouver, 2014. (bron: In The Make) Interview en meer foto's bij In The Make (hk).
Studio visit, 2014. (bron: Contemporary Art Society of Vancouver)
> Fiona Ackerman
Richard Diebenkorn: #20 (painting in artist's studio) from 41 Etchings Drypoints, 1965.
Richard Diebenkorn: #39 (interior of artist's studio on Adeline Street in Berkeley) from 41 Etchings Drypoints, 1963. (bron: Crown Point Press)
Richard Diebenkorn, 1956. (bron: Artist and Studio)
Richard Diebenkorn in his studio, 1968. (bron: CRSAforum)
Richard Diebenkorn in his studio in Santa Monica, ca. 1970–71. (bron: Artist and Studio, foto: Richard Grant)
Richard Diebenkorn in front of “Ocean Park #59” at his studio at Ashland and Main in Santa Monica in 1972. (bron: Artist and Studio)
Richard Diebenkorn in 1982.
Main Street, running through the Ocean Park neighborhood of Santa Monica, is two blocks from the Pacific Ocean. The thoroughfare hums with cars, young families pushing strollers, aging hippies and fancy coffee machines.
Walk a bit, and you'll pass shops, restaurants and beach-y bungalows that can sell for $1 million or more. The Ocean Park you see in 2012 is very different from what it was in 1967, when Richard Diebenkorn began painting his Ocean Park series.
"This was a derelict area," says Kimberly Davis, who directs the L.A. Louver Gallery in nearby Venice Beach. Diebenkorn visited the L.A. Louver every week when he worked in Ocean Park. "There were a lot of artists living there," Davis says.
The reason there were so many artists was that rent was cheap — really cheap. They were living on the edge here. Ocean Park was literally at the edge of the country, but it was also on the edge of the edge of Los Angeles, and painters could afford to live here.
Diebenkorn's first Ocean Park studio, where he began making the big, gently colored, geometric canvases of his series, was on Ashland Avenue. Then he moved to 2448 Main St., where he built his studio. On the outside of the building hangs a plaque: R.D. Studio 1975 to 1988.
...." (bron: npr)
maandag, april 28, 2014
Aristide Maillol bei der Arbeit in seinem Atelier, 1936. (bron: Frankfurter Allgemeine)
Drouot, foto: Gaston Karquel)
Aristide Maillol, Banyuls, 1943. (bron: Rouillac, foto: Gaston Karquel)