Max Presneill is a Los Angeles-based contemporary artist, curator and museum director. Since our first interview in 2012, I've interviewed Max several times, and her practice is currently the focus of a more in-depth research project looking into studio practice today. In this 360° interview, Max talks about his ongoing exploration into abstraction, and how that relates to the current political situation in the United States. He discusses how moving between abstraction and figuration and back again has expanded his visual language
Discussion of art school pedagogies and imperatives in view of neoliberal transformations to contemp...
The artist interview has become an important resource for the conservation of contemporary art. The ...
Artist Michaelangelo Lovelace (b. Michael Anthony Lovelace) discusses his personal background and ca...
Five years ago, Max Presneill was one of the very first artists I interviewed for the StudioCrasher ...
In this 360° interview, Max talks now just about the importance of networking for artists, but also...
Interview to contemporary artist Iñigo-Manglano Ovalle on occasion of the exhibition of his work at ...
This is the second half of a two-part interview with Claudia, a Los Angeles-based contemporary artis...
Exhibited at the Carnegie Museum of Art, Pittsburgh from November 3, 2012 to January 27, 2013, Cory ...
By means of digital imaging tools, specifically Adobe Photoshop, my art work uses painterly referenc...
THE ARTIST INTERVIEW AS A PLATFORM FOR NEGOTIATING AN ARTWORK’S POSSIBLE FUTURES The artist intervi...
Kiel Johnson is a Los Angeles-based artist, whose has found success in both the contemporary art sce...
The challenge of new media interactive artwork is becoming more and more familiar to the conversatio...
Karin Kneffel came to prominence in the 1990s, known for her finely rendered portraits of animals, i...
This second volume of the Talking Art series covers the years 2007 to 2016 and comprises the best of...
One of the benefits of writing for the Office of Intellectual Freedom, this past year, has been to r...
Discussion of art school pedagogies and imperatives in view of neoliberal transformations to contemp...
The artist interview has become an important resource for the conservation of contemporary art. The ...
Artist Michaelangelo Lovelace (b. Michael Anthony Lovelace) discusses his personal background and ca...
Five years ago, Max Presneill was one of the very first artists I interviewed for the StudioCrasher ...
In this 360° interview, Max talks now just about the importance of networking for artists, but also...
Interview to contemporary artist Iñigo-Manglano Ovalle on occasion of the exhibition of his work at ...
This is the second half of a two-part interview with Claudia, a Los Angeles-based contemporary artis...
Exhibited at the Carnegie Museum of Art, Pittsburgh from November 3, 2012 to January 27, 2013, Cory ...
By means of digital imaging tools, specifically Adobe Photoshop, my art work uses painterly referenc...
THE ARTIST INTERVIEW AS A PLATFORM FOR NEGOTIATING AN ARTWORK’S POSSIBLE FUTURES The artist intervi...
Kiel Johnson is a Los Angeles-based artist, whose has found success in both the contemporary art sce...
The challenge of new media interactive artwork is becoming more and more familiar to the conversatio...
Karin Kneffel came to prominence in the 1990s, known for her finely rendered portraits of animals, i...
This second volume of the Talking Art series covers the years 2007 to 2016 and comprises the best of...
One of the benefits of writing for the Office of Intellectual Freedom, this past year, has been to r...
Discussion of art school pedagogies and imperatives in view of neoliberal transformations to contemp...
The artist interview has become an important resource for the conservation of contemporary art. The ...
Artist Michaelangelo Lovelace (b. Michael Anthony Lovelace) discusses his personal background and ca...