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Studios ®

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CONTENTS

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Editor’s Note

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The Proper Disposal of Supplies, Solvents, and Waste

BY DANIEL GRANT

Artists savor many things, including sketches, correspondence, studies, frames, and art supplies. Although there may be avail- able space to store some of those treasures, many others must be discarded to maintain studio safety and cleanliness.

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The Well-Equipped Studio: A Custom Guide to Proper Studio Practice

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Tales from the Studio

BY M. STEPHEN DOHERTY

Over the course of his long and distinguished career, Nelson Shanks has painted in palaces, embassies, corpo- rate offices, living rooms, art schools, the White House, and historic spaces occupied by the ghosts of great artists. As long as the light was good and the space adequate, he was able to create major works of art.

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Historical Studios of Master Artists

BY STEPHEN MAY

Across America, dozens of studios once belonging to master artists have been preserved and are open for artists to visit and learn from. Among them are the historical studios of Thomas Cole, Jasper Cropsey, and the Wyeth family.

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Making Small Compromises in Paradise

BY M. STEPHEN DOHERTY

Artists move to Hawaii for the temperate climate, clean air, inspiring scenery, and friendly art community. In exchange for these pleasures, they have to accept the higher costs of studio spaces, art supplies, and travel back to the mainland.

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Jim Lynch

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Anita Marci

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Philip Sabado

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Wanda Russell

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Carmen Gardner

COVER

Nelson Shanks in the natural north light of his home and studio in Philadelphia.

Photo: Nathan

Kraxberger

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Light, Open Space, & History in New Mexico

BY M. STEPHEN DOHERTY

Four nationally known artists have either adapted or built studios in the style of those used by early-20 th century painters and printmakers.

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Joan Potter

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P. A. Nisbet

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David A. Leffel & Sherrie McGraw

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A Rare Look Inside Private Spaces

BY M. STEPHEN DOHERTY

Professional artists from across the United States opened

their private studios to American Artist Studios magazine.

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Sam Knecht

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William Chambers

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William A. Schneider

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Michael van Zeyl

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Heide Presse

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Carl J. Samson

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Ruth Ann Sturgill

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Ruth Ann Greenberg

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Christine Ivers

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Gerald Simcoe

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Arthur Egeli

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Luana Luconi Winner

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Deborah Chabrian & Edward Martinez

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Sharon Abshagen

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Stu dios for the Serious Pursuit of Art Education

BY M. STEPHEN DOHERTY

Anthony Ryder and Ryan S. Brown rent spaces in New Mexico and Utah, respectively, where their students follow a progression of rigorous, intensive courses in drawing and painting.

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Anthony Ryder

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Ryan S. Brown

Copyright © 2010 by Interweave Press, LLC, a division of Aspire Media, all rights reserved. Title registered ® in U.S. Patent Office. The contents of this publication may not be reproduced either in whole or in part without consent of the copyright owner. American Artist Studios is printed in the U.S.A.

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EDITOR’S NOTE

Dreams and Details About Artists’ Studios

After American Artist’s 2009 Studios special issue sold quite successfully, I asked artists what they liked about the publication and what more they might want to see in the 2010 edition. Their responses indicated that there is an endless curios- ity about the way artists pursue their creative process, and people want to peek inside private work spaces. Other respondents said they needed more practical advice about resolving issues that are common to artists’ workplaces. In response to both requests, we decided to make this issue even bigger than last year’s by adding more information on lighting, floor covering, ventilation, furniture, stor- age, and waste disposal, and also by featuring more of the fascinating studios hid- den away in historic buildings, spread out behind adobe walls, and tucked away in community centers. In order to find another group of studios, I requested information on Facebook, Twitter, and ArtistDaily.com. Those generated useful leads about converted recre- ation rooms, new additions, and specialized equipment. I also made trips to New Mexico, Hawaii, Illinois, Michigan, Pennsylvania, and Connecticut to personally inspect studios, sometimes in the company of a professional photographer. This issue features several studios that were built a century ago, some of which are still being used by painters and others that have been restored to their original condition. The historic spaces being used by Joan Potter and P. A. Nisbet in Santa Fe (pages 56 and 62, respectively) are especially interesting, because they provide documentation of the period when artists settled in the young state of New Mexico. And Carl Samson’s 1920s studio in Cincinnati has been a labor of love since he bought it 10 years ago (page 106). We also present studios built or renovated in the past five years, and one that was just completed. Sherrie McGraw and David A. Leffel opened their spacious studios near Taos to photographer David Huff (page 68), and Heidi Presse explains how she utilizes a recent addition to her Florida home (page 102). Arthur Egeli sent photographs just as he was putting the finishing touches on his California studio (page 124). On the more practical side, William A. Schneider gives a detailed list of the design features, lighting, ventilation, flooring, and wall coloring that make his Illinois studio a safe and comfortable place for him to paint and teach (page 88); and Christine Danylik Ivers shows what can be done when a downturn in the economy forces an artist to make better use of office space (page 118). I’ll soon be gathering leads for American Artist’s 2011 edition of Studios, so please let me know your suggestions.

4 American Artist

so please let me know your suggestions. 4 American Artist M. Stephen Doherty Consulting Executive Editor

M. Stephen Doherty

Consulting Executive Editor

mail@ArtistDaily.com

Studios ®

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