#paintress

#paintress

"I love the range in this booth, from large-scale ceramic totems to more intimate neon paintings. I'm always impressed by the artists Freeburg represents and the clarity of her program's mission."

Tom Prochaska distinguished himself in many mediums: He was a masterful printmaker, an intuitive painter, a builder of papier-mâché figures, a creator of fused glass panels, and graphite-on-paper drawings.

My connection with Fahrelnissa Zeid is incredibly personal. I was a painting student of hers in my mid-teens when I lived in Jordan, and she was a powerful presence in my life at that time.

Knowles's performances, such as Make a Salad and Identical Lunch, showcased her unique approach to art through food, engaging audiences in the experience of preparation and consumption.

Much of Instagram's video content is organized around transformation-the virtual magic of the before-and-after and clips that show cause and effect. A person makes pasta from scratch in 20 seconds via edits that compress time-intensive labor.

In the hushed, monastic cells of Florence's Museo di San Marco, Mark Rothko's canvases pulse with spiritual intensity. Rothko's paintings are a new arrival, part of the city's latest major exhibition.

I see myself first and foremost as a weaver working at the intersection of craft and technology. As an Angeleno, I grew up learning how to weave in the Wixárika tradition of my matriarchal bloodline by watching my mother and my grandmother.

We visited the Female Artists of the Mougins Museum, in Mougins, a small village on a hill near Cannes. Full of exclusively female artists from Berthe Morisot in the 19th century and Frida Kahlo in the early 20th to contemporary figures such as Tracey Emin it houses an incredible collection of often overlooked art and artists. We visited on a rainy October day and it was remarkably quiet and calm. I particularly enjoyed the abstract works well worth a trip up the hill.

Fryar transformed a cornfield in South Carolina into a renowned garden and an American landmark, sculpting intricate topiaries that reflect his dedication and creativity.

Chauvet developed 'Zapatos Rojos,' which takes the form of dozens or hundreds of pairs of red shoes publicly displayed in site-specific formations. Each pair of shoes connotes the absence of a femicide victim, or a disappeared woman or girl.

The stellar collection of 30-plus Venice paintings from the artist's 10-week visit in 1908 is smartly framed by additional materials. Visitors get exposed to historic photographs of the city, as well as of the Monet couple visiting, and are provided with lots of quotations from the artist about his approach to art, process and subject.

These women artists were in museum collections, but they were barely shown. The challenge was to do enough research to find common themes and bring them together.

"These works are an exploration of the human body's elasticity and capacity to metamorphose. Informed by my own experience of pregnancy and the birth of my first child last year, these paintings are a meditation on physiological transformation and the body's underlying animalistic and mammalian nature."

On Franklin Street in Brooklyn's Greenpoint neighborhood, one non-commercial gallery fosters 'a small, stubbornly human space for friction.' Friction—the ubiquitous buzzword that captures the simultaneous delight and discomfort of doing things the slow way—is at the heart of artists Pap Souleye Fall and Char Jeré's current show at Subtitled NYC. It also reflects the overall spirit of this little exhibition space and of a burgeoning movement to reject our culture of optimization in favor of a bumpier, more intimate, less alienating experience.

What began as a passion for collecting became a responsibility. She not only believes in the artistic genius of women, but she wants society in general to hold men and women artists in equal esteem-and to place the same monetary value on their work.

If you want to paint, put your clothes back on! That was how Carolee Schneemann summarised the critical response to her 1975 performance piece Interior Scroll, which she had performed nude standing on a gallery table. After making a series of life model poses, she removed a scroll from her vagina and began to read her manifesto. In doing so, Schneemann asked an important question: What does it mean for a female artist to be both the artist and the life model?

Mornings are best for concentrated work. In the winter, I turn on the heat at 8am and get started around 10am. Summer, I start around 9am. I have two areas in the studio for projects. The large, heavy wood sculptures are carved in the front section of the studio, closest to the roll-up wide door. Smaller sculptures are placed on a hydraulic workbench. Before I start, I focus, connect with the Source, and ask for guidance.

I work outside, carving and shaping the stone. Outside my house, I have a table, an extension cord, and tools. It's very cold and I have to wear all my winter clothes. When it's too cold, I do the filing and finishing work inside after I shape it outside. I listen to all kinds of music. I listen to Eminem all the time; his albums are all my favorites. For drawings, I work at Kinngait Studios or at home on my kitchen table.