From the Studio: Fifty-Eight Years of Artists in Residence

Featuring more than one hundred works which are installed in the Artist-in-Residence studios on the fourth floor, this presentation reflects on the history and impact of this foundational program.

For Studio, we are pleased to share four works that will be featured in this installation, alongside their artist reflections—Willie Cole, Alison Saar, Mickalene Thomas, and Autumn Knight.

Alison Saar
Artist in residence 1983–84

“I had recently moved to New York City and was piecing together a living through various part-time jobs—one of which involved working with the collections at the Studio Museum. When I was awarded the residency, I was ecstatic. The stipend gave me the freedom to spend more time in the studio, and the dedicated space allowed me to create works that had been impossible to realize in my four-story walk-up loft. My commute from Chelsea became an essential part of my creative process. Walking from the A train across 125th Street, I was immersed in the vibrant sounds and sights of Harlem. My great-uncle had once owned a restaurant in the neighborhood, the New Iberia, and I passed buildings that might have once housed such establishments during the 1920s and 1930s, I felt the spirits of that era nodding in approval at the new rhythms gracing the streets. At the time, many of Harlem’s abandoned and burnt-out tenements were just beginning to be refurbished. Piles of discarded linoleum, wooden joists, and tin ceiling panels often lined the curbs. I would haul these materials back to my studio, transforming them into figures and frescoes—channeling the lives these materials had lived.”

Willie Cole
Artist in residence 1988–89

“The first time I visited the Studio Museum in Harlem, I was with a team of art handlers. We installed David Hammons's Fried Chicken and Gold Chains (made with real fried chicken) at Art as a Verb: The Evolving Continuum, and the Artist-in-Residence show featuring Terry Adkins, James Andrew Brown, and Leon Waller. I took off from there.

My residency there was like three in one. One in the studio, one in the museum, and one in Harlem. Each day I was greeted by a bluesman perched outside the museum's front door. He had his hat down, but he would always say he was collecting money for his winos. Inside the studio, I explored the steam iron like an ancient relic. It was there that I first began scorching canvases. But I had to do it at night when no one was around. In the museum, I saw McCoy Tyner play piano and Miles Davis interviewed by his biographer. And it was in the streets of Harlem where I could always find a junk shop with an old junk dealer willing to dive into his pile and pull out a steam iron.”

Mickalene Thomas 
Artist in residence 2002–03

“My 2002–03 Artist-in-Residence experience at the Studio Museum in Harlem was a pivotal moment in my artistic journey. The residency program remains a cornerstone of my career, providing a transformative experience that continues to shape my artistic vision. When I applied, I was uncertain about my future; I was in the midst of completing my MFA at Yale University. Receiving the acceptance letter from the Studio Museum validated my artistic aspirations and encouraged me to stay in New York City.

As a resident artist, I became part of a dynamic community that nurtured creativity and growth. My fellow artists, Deborah Grant and Louis Cameron, were invaluable sources of support and inspiration, offering generosity and encouragement. Our shared experiences and critiques helped me navigate the challenges of developing my artistic voice.My daily commute from Bed-Stuy to Harlem became a catalyst for creativity. Observing people on the subway and experiencing the city’s diverse neighborhoods influenced my artistic perspective and informed my work. Late nights spent honing my craft at the Studio Museum were often marked by moments of self-doubt, but they ultimately led to significant artistic breakthroughs. The residency became an incubator for my creative growth, and the connections I formed with my fellow artists remain a lasting legacy. 

The Studio Museum residency fostered deep and enduring bonds among us, which I still cherish today. The program’s ability to bring together artists from diverse backgrounds and disciplines—encouraging dialogue, friendship, and lifelong networks—is truly magical. It stands as a testament to the power of community and creative incubation. My experience there continues to inspire me, and I remain profoundly grateful for the opportunity to have been part of it.”

Autumn Knight
Artist in residence 2016–17

comradery 
community 
Space 
expansion 
blackness
in situ access 
place/space 
connection 
the launch 
floors/doors/windows 
twin flags 
triad 
a generation 
a legacy 
a resident 
ephemeral