Studio Practice

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Studio Visit: Nina Chanel Abney by Osman Can Yerebakan
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“Everything is equally treated.” 

Anoka Faruqee and Michelle Grabner
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Two artists find a mutual fascination with both the aesthetic qualities of repetition and the mechanical means of reproduction.

On the Clock with Amanda Ross-Ho by John Yau
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The gallery as studio.

Studio Visit: Cy Gavin by Ryan Chapman
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Paint and plenty of fauna in a Dutchess County barn

Portfolio by David Gilbert
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Suburban sprawl and craft-store spree meet creeping apocalyptic bleakness.

Portfolio by Jonathan VanDyke
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Jonathan VanDyke is an artist based in New York City.

Portrait of the Artist as a Room by Lynne Sachs
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On Studio: Remembering Chris Marker

Stanley Whitney by Alteronce Gumby
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“My work was just like art history; it was all Velázquez, Goya, Cézanne, and Soutine. But when I saw Morris Louis I saw a way into the present.”

Los Angeles Studio Visits #2: Hailey Loman & Jakob Brugge by Molly Surno
Map By Kristen Montero

A series of conversations about location, process, and practice.

Portfolio by Andy Graydon
Assaf Evron by Abigail Winograd
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Art history via conversations

Paper Clip #74 by Jonah Max
Ben Vida

Paper Clip is a weekly compilation of online articles, artifacts and other—old, new, and sometimes BOMB-related.

Juan Uslé by Shirley Kaneda
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“I begin listening and recognizing silence, meditating until I hear the blood circulating, and then start following the beats, making marks, one by one, line by line, emptying myself until the entire surface of the canvas is covered.”

Los Angeles Studio Visits #1: John Burtle & Guan Rong by Molly Surno
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A series of conversations about location, process, and practice.

Natalie Frank by Dasha Shishkin
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“Suspension of disbelief seems more immediate in a drawing, which is a direct portal into another world.”

Valerie Snobeck by Joe Fyfe
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“The absurdity of this material’s resistance made me want to work with the plastic, the peels. The plastic is part of us, part of me and my contribution, too, even if not directly. Plastic is estranged from me, but it is me.”

William Kentridge: Fortuna by Nell McClister
William Kentridge Studio

The primary challenge of any William Kentridge monograph might seem to be getting images on the page to represent the South African artist’s oeuvre, which spans performance by puppets and opera singers, immersive film installations, stereoscopic and anamorphic drawings, crank-activated kinetic sculptures that play music (recently on view at Marian Goodman in New York), and virtuosic charcoal-on-paper animations. 

Scott Olson by Veronika Vogler
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Painter Scott Olson on stumbling upon materials, the Ohio art scene, and the importance of frames.

Amy Sillman by R. H. Quaytman
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I don’t remember when Amy and I first met—it must have been in the mid ’90s. However, I do remember that she saved my life by being one of the few artists who genuinely seemed to admire and enjoy what I was doing at a time when my work was barely known.

Radcliffe Bailey by Lilly Lampe
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Radcliffe Bailey on artistic and regional labels, testing his own DNA, aging, and the power familial ancestry holds on his practice.

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