Extended profiles of contemporary artists, reported from the studio and the install rather than the press kit. Each piece covers method, materials, influences, representation and the practical shape of a working life. Intended for collectors, curators and artists who want to understand a practice before judging it.
New York puts real money behind individual artists — the DCLA's funding stream, NYFA fellowships, and borough arts council grants — and the honest guide is which ones pay what, when, and who actually gets them.
Materials for the Arts runs a free warehouse in Long Island City stocked with donated fabric, paint, and furniture — here's who actually qualifies to shop it, and how an artist without a nonprofit gets in.
State money, city money, and a nonprofit go-between: a plain look at where public arts funding for working artists actually comes from in New York.
New York-area residencies trade selected artists time, space, and sometimes money for an application and a commitment — here is what they cover and how artists get in.
From SAMO tags to Annina Nosei's gallery in 1981, the wall-to-white-box crossing is old news — the modern question is how to make it without losing the block.
A working statement says what the art is, what it is made of, and why it matters — in plain sentences a tired juror can read in under a minute.
Outside Manhattan, group shows run on open calls, referrals, and familiarity — here is how Brooklyn and Queens exhibitions actually get assembled.
Rent arrives monthly and sales do not — how employment funds New York studios, eats studio time, and sometimes feeds the work.
Collectives pool hands, rent, and witnesses — and survive only when credit, labor, and money are split by rules written down before anyone is famous.
Editions turn one image into thirty chances at a life in thirty homes — here is how working New York artists size, price, and actually profit from prints.