featuresStudio visits

Peter, Will and Todd (on lap) Barnet. Courtesy of Peter Barnet.

“He Still Draws Beautifully and Paints Every Day”: Will Barnet at 100


Painter Peter Barnet and law professor Todd Barnet talk about their father


Alain Kirili working on the installation of Résistance in Grenoble, France. Photo by Alain Chaudetto by Lucile Genoulaz

Résistance: Alain Kirili’s Monument in Grenoble


On the eve of its inauguration, the sculptor discusses his values and aspirations


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The Magic of Twilight: Inka Essenhigh on Working Fast and Being Timeless


Monoprints at Pace Prints Chelsea through April 16. Talk with Alexi Worth at the Studio School Tuesday 29


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Star-Crossed Painters: Laurie Fendrich and Peter Plagens


Husband and wife exhibitions overlap – and on St Valentine’s Day to boot.


Robert C. Morgan, LS (Tension Balance), 2010. Acrylic on canvas, 30 x 40 inches. Courtesy of Sideshow Gallery.

Elegant Systems: Robert C. Morgan on his work


A conversation recorded during his recent show at Williamsburg’s Sideshow Gallery.


a volcanic exhibition catalog: photograph by Joe Fyfe of a work by Roman Signer on view in his home, St Gallen, Switzerland, 2007

The Smell of Gunpowder: A visit with Roman Signer


Signer is a subject of this Friday’s Review Panel and a show at the Swiss Institute


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Terrestial Breezes and Solar Winds: A studio visit with Roberto Juarez


A TOPICAL PICK FROM THE ARCHIVES: 2010 Studio Visit marks residency/show at La Galleria La Mama


Will Cotton in his New York studio, 2008, photograph by Greg Lindquist

Will Cotton


I was reading about Frederick Church and that he had visited the American West and South America– these, which were at the time, very exotic places. And then he made paintings of these places that people had never seen before. And in doing so, introduced this entirely new landscape to the public that people were very excited to see. And I thought, Wow, that’s exactly what I want to do: to build a table-top landscape in the studio and then make paintings of it. So the paintings become a record of this exotic place that existed temporarily, but something no one will ever see in person.


Brenda Goodman, Self-Portrait 4 2004 oil on wood, 64 x 60 inches (diptych)

Brenda Goodman


I had Kiki Smith over when I had just finished these and she said, You know, you should approach some galleries from a revisionist point of view because usually it’s a male in the studio with a model, or a male at the easel, and here you’re a nude figure in your own studio with all your paintings and your tools around you. There aren’t many paintings like that, she said. So I thought, well that’s interesting, that’s not something I was thinking about—I was thinking about what I feel in my studio, the vulnerability.


Barbara Yoshida


You started your career as a painter and sculptor, and first became involved in photography with a project you did making portraits of women artists in New York City. I felt that male artists were photographed a lot, and I wasn’t seeing as many representations of women artists, and those that I did see weren’t…