vrijdag, februari 26, 2016
donderdag, februari 25, 2016
Dana Schutz in her studio in Brooklyn, New York, 2013.
"American painter Dana Schutz has previously worked in close proximity with other artists, so it is a shock to find her ensconced in her own space, a former garage in the Gowanus area of Brooklyn, New York.
The studio is long and thin with a half mezzanine where Schutz keeps her computer. She moved here two and a half years ago from the studio nearby she shared with, among others, her sculptor husband, Ryan Johnson. "I was curious about working alone. Moving here was great. Even when it was a garage it felt really good." Making the work, however, was not that easy. "You know you want to do something different but you don't know what it is. And it feels awful."
The floor of her studio is littered with her palettes made of plastic wrap. Her practice of coming in every morning and mixing her colours first is a long-established habit. "At the end of the day, I run around and put them in the fridge hoping they will keep over night. I want to work all day and not stop to mix."
Dotted around are sheets of paper with images downloaded from the internet. A "hyper-colour" shirt from the 1970s that changes in the sunlight will clothe one of her characters in the large painting dominating the end wall of the studio. Books on artists from Max Beckmann, Picasso, Matisse and Marsden Hartley lie on the floor. "I was looking for palettes, and I found this painting by Hartley." She points at the fluffy clouds." (bron: The Independent, foto: Neville Elder)
woensdag, februari 24, 2016
View of Lucy Dodd’s studio, July 2013.
With the vanishing Foss and Tide on my mind, I stretched and primed seven shaped canvases on the floor of my studio. Their sizes and shapes were determined by the studio’s unique architecture and by an equilateral triangle painting that holds them together as a unit. This painting is called the key; there are eight paintings, including the key. The lines of the floorboards determined the horizon lines on the wall. I kept going in and looking at them all stretched and taut and white and clean. They were the crispy ship sails you see on the horizon, but I had to take them through the storm. One day, I went into the studio and the first stain was there: my dog, Bubs, had peed. She had broken the seal for me, and with the odor remover Nature’s Miracle, I could begin again." (bron: Artforum)
Lucy Dodd: Foss, 2013. (bron: David Lewis Gallery)
Marilyn Minter, Strange Teaching, Studio Visit, New York 11/19/2015.
Mark Dion, Strange Teaching, Studio Visit, New York, 11/29/2015.
Rudolf Stingel, Strange Teaching, Studio Visit, New York 11/24/2015.
Vito Acconci, Strange Teaching, Studio Visit, New York 11/18/2015. (bron: Strange Teaching)
> Marilyn Minter
> Vito Acconci (Studio)
dinsdag, februari 23, 2016
Eucalyptus branches from the Presidio installed before the formwork for the rammed earth wall is installed.
Rammers have reached the top of the rammed earth wall that surrounds the now buried eucalyptus branches.
Formwork is removed revealing a freshly packed rammed earth wall and the center point of the ball of gnarled eucalyptus branches. Both the raw earth for the rammed earth wall and the eucalyptus wood was sourced from the surrounding Presidio.
Andy Goldsworthy poses with the installation before beginning to dig out the earth surrounding the encased eucalyptus wood.
Andy Goldsworthy excavates the rammed earth from around the gnarled eucalyptus wood. (bron: Rammed Rarth Works)
Andy Goldsworthy: Eart Wall, 2014. (bron: DryStoneGarden)
Andy Goldsworthy chiseling a mock-up wall to test methods for distressing the rammed earth before the final installation is built.
Andy Goldsworthy chiseling the ends of a meandering curved mock-up rammed earth wall to test methods for distressing the rammed earth before the final installation is built.
Andy Goldsworthy and rammed earth builder David Easton atop the serpentine rammed earth mock-up wall discussing how the final project will be built.
A crane removing large aluminum and plywood panels panels from the experimental mock up rammed earth wall. The panels supported four foot by eight foot blocks of three-pound (recyclable) expanded polystyrene, each block wire cut to the wall's curve using a CNC machine.
The final project will be so complex that the Rammed Earth Works team invented and built an articulated, rolling conveyor to travel the length of the wall delivering the massive volume of earth to be rammed in the curving wall.
Ramming earth in the meandering curved wall. The final project's walls will be forty feet tall and one hundred feet long as the crow flies, one hundred and eighty feet long traveling along the curves.
Formwork of the curved mock-up wall. The final installation to be constructed next year will contain nearly 1000 cubic yards of loose soil - 27,000 cubic feet - pounded into six inch lifts.
"Sculptor Andy Goldsworthy, known for both his ephemeral and permanent installations, returned to northern California and the Rammed Earth Works studio to begin development on a monumentally permanent piece to be constructed next year for a private client. Known more for his work in stone, Andy chose rammed earth for this project because of the “inner warmth it radiates.” The large mockup was built to explore both the techniques to be used in the final construction next year and to explore the stratification and surface characteristics. The wall itself will combine the smooth, off-form finish inherent to densely compacted earth with the chiseled surfaces of a portal “tunneled” through the six-foot thick wall. Each end wall will appear to be broken off.
The wall itself will be HUGE - forty feet tall and one hundred feet long as the crow flies, one hundred and eighty feet long if you stay in the middle of the river. That’s nearly 1000 cubic yards of loose soil, 27,000 cubic feet - pounded into six inch lifts. The team has to invent and build an articulated, rolling delivery conveyor to travel the length of the wall and, for the first time ever, self-driving rammers that ride along a monorail mounted to the reinforcing steel. According to Khyber Easton, self-driving rammers have been in the works for several years, but took a project of this magnitude to evolve from the design studio and into the field (from the theoretical to the practical). The plan is to have both the rolling conveyors and the self driving rammers operated through remote control, giving the operator precise control over placement and compaction.
Now that the mock-up wall has been built and approved, the project waits for a final test from the predicted El Niño rains.
...." (bron: Rammed Rarth Works)
maandag, februari 22, 2016
Maurice braspenning in zijn atelier, 2015.
Kunstenaars en opruimen, het blijft een lastige combinatie. Kunstenaar Maurice Braspenning ruimt zijn atelier precies één keer per jaar op. En het fijne toeval wil dat die ene keer net is geweest.
Zijn atelier ligt vol met witte potloden en onmisbare elektrische puntenslijpers. Kwasten gebruikt hij bijna niet meer, alleen rollers om de muur te sauzen. Verder hangen er aan de muur wat ingelijste schilderijen. Ze zijn afkomstig uit zijn dagboekje waarin hij veel tekent. “Op vakantie met mijn gezin weet ik soms even niet wat ik moet doen. Als ik elke dag een tekening maak, voel ik me oké.”
Voor de komende tijd heeft hij het idee zijn atelier helemaal zwart te schilderen, misschien zelfs ook het plafond, zodat je als het ware een reis maakt langs alle voorstellingen.
...." (bron: HP/De Tijd, foto: Andor Kranenburg(?))
> Maurice Braspenning
> Maurice Braspenning | facebook