Charles Burchfield painting in his studio, Gardenville, New York, 1966. (William Doran/Hammer Museum).Christopher Knight wrote about the show in today's LA Times. Here's an excerpt from the review, which will segue nicely into my following paragraph.
An artist's show
"The rich and provocative show, which travels to Buffalo and New York next year, was expertly organized by artist Robert Gober, who worked with Hammer curator Cynthia Burlingham.
It feels very much like an artist's show, one that springs from an empathy for working studio process. Each room includes vitrines with fascinating adjunct material -- magazines, tools, sketches, correspondence, catalogs, etc. None is more poignant than the final display, featuring two precarious stacks of more than 60 manila folders carefully cataloging a selection of Burchfield's voluminous annotated journals.
We can't look inside them, sheltered beneath their plexiglass cover. But the display is an eloquent testament to the fact that, with an artist of Burchfield's deep and prodigious gifts, we will never get to the bottom of it. In the meantime, we have his paintings."
Thanks to Tracy's rec, I pounced on Inside the Painter's Studio, by artist, Joe Fig. I, too, have always loved looking at studios and reading about studio habits. For instance, it delighted me to know that Ross Bleckner's decision to have a separate work space forces him to interact with the city. At the very least he stops and grabs a coffee on the way from the apartment to the studio. I'm working on the hermit thing because really, I'm not as anti-social as I might sound. Not at all. I just love working in the studio.
With regard to my own studio, there's so much to write about in terms of process and where I'm at. I guess it's exciting but it feels like those episodes on Lost where they were flashing back and forth in time way too much and everyone was getting nosebleeds.
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