Shilo Ratner Art Studio Journal & Exhibition Updates

A room full of Bonnard paintings at Centre Pompidou, an afternoon of looking, and a shift in understanding that never fully settled. This is how Paris changed the way I think about color — not as surface, but as structure.

I've been studying the work of Raimonds Staprans for years. His paintings are impossible to ignore,  saturated, structured, and alive with a tension that keeps you looking. 

A reflection on the Georgia O'Keeffe traveling exhibition at the de Young Museum in San Francisco, and what her wit, obsession, and lifelong drive to create continue to mean to my practice as a painter.

A reflection on meeting Theophilus Brown after being selected for the Art Space 712 portrait exhibition in San Francisco.

A personal reflection on the Hilma af Klint exhibition at the Guggenheim — on the presence of her abstract paintings, the architecture of one of the world’s great museums, and what her conviction as an artist means to my own practice.

Richard Diebenkorn's Notes to Myself, found among his papers after his death in 1993, remain some of the most honest and useful words ever written about the creative process in abstract painting. Here's what they mean to my practice.

Shilo Ratner visits the New York City studio of legendary figurative sculptor Bruno Lucchesi on June 28, 2012 — an intimate look at the master's unassuming workspace, his striking subway series, and the signed copy of Terracotta she brought home.