It's not often that an artist's
studio visit involves a weekend in the woods hunting for mushrooms.
Not exact matches
It would appear M. Night Shyamalan has made a bit of a return in the last few years with The
Visit and now Split being developed under the Blumhouse Productions logo, and this particular marriage of
studio and filmmaker seems to be benefiting everyone
involved.
Studio visits don't necessarily
involving visiting an actual
studio.
Delgado, who was approached by the Latino Cultural Center to curate the exhibition, was heavily
involved in the selection process, doing
studio visits with potential exhibiting artists.
50 A-level students from secondary schools in seven London boroughs are
involved in a programme, called attRAct, which offers creative and architecture workshops, life drawing sessions, exhibition tours by eminent artists,
studio visits, mentoring with RA Schools post-graduate students and career advice.
Over the last 18 months in the build up to Artgate, children
involved in Art Inspiring Change have pitched their ideas to Thanet District Council in their council chambers,
visited the Houses of Parliament, orchestrated a gallery takeover at Turner Contemporary,
visited Phyllida Barlow's
studio in London, experimented with different artforms, and created their own artworks that will leave a legacy in Margate.
As with past Triennials, the selection process
involved a careful review of images, followed by
studio visits.
Bove was closely
involved in producing this publication designed by Joseph Logan, which is structured around a series of photographs taken by Andreas Laszlo Konrath on
visits to her
studio in Brooklyn.
The process of selecting the work
involved an open call with 1,250 artists submitting portfolios and around 500
studio visits.
Costumes, Reverence, and Forms is the culmination of a year's worth of curatorial exchange work
involving two institutions and six curators — together we reviewed 180 artist's websites, conducted 22
studio visits, and logged countless hours of communication and thought.
It may have taken place in a dive bar, like between Pollock and de Kooning, in a fancy restaurant where Freud and Bacon liked to meet, or it
involved an old - fashioned
studio visit as frenemies Manet and Degas preferred.
Over the last few weeks I have encountered a rather odd collection of sculptural things: the postwar ceramic sculpture of Lucio Fontana and Fausto Melotti bursting with dynamically glazed and roughly handled surfaces, currently on view at the Nasher Sculpture Center; The Age of Innocence, a victorian bust in three different materials by the English sculptor Alfred Drury at the Henry Moore Institute; a
visit to Henry Moore's house,
studios, and now foundation at Perry Green, and most recently what I can only describe as a wonderfully insane lecture by the contemporary sculptor Thomas Houseago, which
involved an increasingly drunk, cursing artist saying some surprisingly sincere, profound things about sculpture.