Most conversations about art end at the point of purchase. But what happens after a painting comes home? That's where the real story begins, and where the value of original art truly reveals itself.
A personal reflection on visiting the Sanctuary of Dom Bosco in Brasília—and what it means to stand inside a space defined entirely by blue.
What made this exhibition particularly meaningful was the caliber of its juror: Marcela Guerrero, Assistant Curator at the Whitney Museum of American Art. Guerrero's curatorial practice centers on expanding the canon of American art, with a focus on underrepresented artists and the expressive power of color and abstraction.
I still remember the first painting I bought for myself. I was in my early 20s, standing in a small gallery, going back and forth on whether I should do it.
It felt like a big deal, because it was.
I was excited, but also nervous about spending the money. I didn't fully understand yet what it meant to live with a piece of original art, only that I wanted my apartment to feel more like mine, more considered, more complete.
Shilo Ratner was awarded the Weiss Sisters Prize at the 116th New Haven Paint and Clay Club Juried Exhibition for the original painting Leisure, a 36x36 inch work in the Bay Area Figurative style, juried by Aldrich Museum of Contemporary Art Director Richard Klein.
Shilo Ratner's newest geometric abstract paintings will be featured at the Seattle Art Fair 2024 with +GalleryLABS, July 25-28 at Lumen Field Event Center. Discover bold mountain paintings and abstract landscapes from this contemporary artist.
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.
Daily Nutmeg writer Kathy Leonard Czepiel reviews Shilo Ratner's 2020 solo exhibition at DaSilva Gallery, exploring how her geometric abstract paintings use color, shape, and repetition to create calm, meditative visions in chaotic times.
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.
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.
Early decisions act as constraints, but not in a restrictive way. They create direction. A horizon line placed slightly higher or lower shifts the entire spatial experience. A compressed shape changes how the surrounding space breathes. A color introduced too early can either anchor the work or flatten it. These choices don't just sit on the surface. They organize everything that follows. The painting begins to build from that first condition.