zaterdag, december 31, 2016
Brian Cypher's atelier, voor 2012.
My current studio is a repurposed storage/workshop building on my house property. It was remodeled several years back and it's a rather small but functional space at 10 x 20 feet. When it was remodeled, I pushed the ceiling up and brought natural light into the space with windows and skylights. It really wouldn't have felt like a proper studio without it. It's quite a wonderful space to work in but I am starting to feel some growing pains with it. There’s one main wall that I use for painting and looking at work. The opposite wall contains two large flat file drawers that are stacked and the top surface functions as a workspace. I also keep all my books on that wall. In one half of the floor space, I have a long table that doubles as a workspace and a printmaking area. The rest of the walls function as places to put up images for reference and reflection. It's mostly a mix of recent work, older work and other visual interests that I’ve collected. The studio mostly affects my work because of the close proximity between it and my home. It's always there when I need it to be.
...." (bron: Studio Critical)
Brian Cypher at work in his studio, Washington (state).
Brian Cypher's atelier, 2014.
Brian recently completed work on a new studio building, and in the following interview, he details his plans for it to serve not only as a studio, but also as a future location for art in the Seattle area.
PB: You have just completed the construction of a new studio. Tell me about what went into its design and your plans for it to double as an exhibition space.
BC: The idea and actuality of the new studio became real in December of last year. I had been using a converted garden shed for 5 years and I was quickly becoming smothered and cramped by that space. I contemplated renting a studio away from home, but that idea was quickly discarded as time is already at a premium between family and the day job, so we started thinking about the possibility of building the studio next to the house. Once that idea emerged, it wasn't long before we started to make it happen.
The studio design went through a few iterations. Like most art studio wish lists, it all started with the want for a large open space with high ceilings. I really wanted it to feel as loft-like as possible. The first few ideas were great but too expensive to realize. After a few tweaks, we settled on a design that matches the Mid-Century style of our house. Functionally, the studio looks like an oversized garage but with the addition of an entry, bathroom and smaller studio back room. The overall dimension is 26 x 52 feet with the ceiling height reaching 12 feet on the high side. The garage door is a roll-up as to avoid the tracks that are usually associated with traditional garage doors. It was important to me to eliminate any unnecessary sight line intrusions. To make the space feel more open, I went with using open web trusses like the ones used in commercial spaces. They look great and again it minimizes sight lines. The lighting throughout the studio uses T5 high output fluorescents at 3500K spectrum. I wanted the light to be fairly neutral and avoid being too blue or too yellow. After 20-plus years of making due with various spaces, it's finally great to be in a space like this.
The realization of wanting the studio to be used as a gallery really became apparent once the walls went up. I think for a lot of artists, there's just a natural inclination of wanting to curate, and so for me it's a way to connect with the arts community and provide another outlet for viewing art. The gallery will be called Occasional, and that also describes the program's frequency. I didn't want the ambition of showing other artists work to turn into another 'job' so I'm keeping the expectations of doing exhibitions to be on occasion. An added benefit of having a gallery space run from my studio is that the typical gallery overhead is essentially eliminated and I don't need to have sales in order to keep the project afloat. The first exhibition, titled Acquired, will feature work by over 40 artists from my personal collection. The show will go up sometime early next year.
...." (bron: Painter's Bread)
> Brian Cypher
> Brian Cypher | facebook
woensdag, december 28, 2016
Helen Verhoeven in haar atelier in Berlijn werkend aan "Hoge Raad". (bron: sapiensa, foto's: Dominique Panhuysen(?))
Helen Verhoeven: Hoge Raad, 2015.
Helen Verhoeven in haar atelier, Berlijn. (bron: Spencer Alley, foto: André Smits(?))
> Helen Verhoeven
dinsdag, december 20, 2016
vrijdag, december 16, 2016
donderdag, december 15, 2016
Chris Johanson in his studio. (bron: Phaidon)
Chris Johanson & Johanna Jackson in their studio in Los Angeles, 2013. (bron en foto: Matthu Placek)
Chris Johanson & Johanna Jackson's studio. (bron en foto's: Yoshihiro Makino)
> Chris Johanson
vrijdag, december 09, 2016
Diego Giacometti dans son atelier parisien, 1982. (bron: Le Figaro, foto: Frédéric Brollo)
Diego Giacometti, Paris, 1983. (bron en foto: Ilse Ruppert)
Diego Giacometti in his studio in 1982. (bron: Financial Times, foto: Frédéric Brollo)
A simple courtyard filled with the distinctive designs of Diego Giacometti leads to the artist's (Diego Giacometti) small two-story house and workshop in Montparnasse.
(bron: Architectural Digest, foto's: Pascal Hinous)
donderdag, december 08, 2016
"The studio at rue Hippolyte-Maindron – which no longer exists today – progressively became not only Giacometti’s entire universe, but an extension of himself, so closely associated with the artist’s legend that some believed he had died there. Giacometti’s move into the studio in the rue Hippolyte-Maindron was frequently mentioned later by the artist himself as a turning-point in his biography.
On 1 December 1926, Alberto Giacometti moved into a studio with mezzanine measuring 15 feet by 16 feet at 46 rue Hippolyte-Maindron. The studio was part of a building complex off the rue d’Alésia, at the corner of the rue du Moulin Vert. Around 1932, he rented the studio just opposite his for his brother, who had joined him as his assistant. In spite of having frequently expressed his desire to move out of his studio during the 1930s, due to the lack of comfort and the leaks caused by faulty roofing, Giacometti moved in permanently to the rue Hippolyte-Maindron after the war, upon his return to Paris in September 1945. In 1947, Annette Arm (the future Mrs. Giacometti, who had arrived in Paris in July 1946) became the tenant of a room adjacent to the main studio – it would become their bedroom. In October 1957, Giacometti also obtained a contiguous narrow studio and used it as storage space. In 1958, four workshops are therefore occupied by Giacometti at 46 rue Hippolyte-Maindron." (bron: Fondation Alberto et Annette Giacometti)
> Alberto Giacometti | Fondation Alberto et Annette Giacometti
Giacometti in his Paris studio with sketches for the Chase Manhatten Plaza, Paris, 1958.
Alberto Giacometti in his Paris studio, Paris, ca. 1964.
Alberto Giacometti painting in his Paris studio, Paris, 1965.
Giacometti working on the bust of Jacques Dupin, Paris, 1965.
Alberto Giacometti with Jacques Dupin in his Paris studio, Paris, 1965.
Alberto and Annette Giacometti in the studio in Stampa, Stampa/Bergell, 1965.
Alberto Giacometti modeling a bust in Stampa Stampa/Bergell, Stampa/Bergell, 1965. (bron: Ernst Scheidegger Archiv, foto's: Ernst Scheidegger)
> Alberto Giacometti | Fondation Alberto et Annette Giacometti