En Mis Brazos
Woodcuts by Samuel Miranda
October 29, 2018
Issue 16, Issue 16 Art, Studio
Studio
Samuel Miranda: Poetry and Art
LOOKING FOR MY CITIZENSHIP
After Adál
When I am unsure of who I am
I pick up my dominos
and search out el reverendo
Pedro Pietri
so we can pray for clarity.
Streets of Goma
August 1, 2018
Studio
Years ago, I wrote that seekers of all stripes—journalists, philosophers, scientists, mystics—are chasing the same elusive thing: something like truth, understanding, a fully integrated perspective, awakeness, untangling. We just ask questions in different contexts, modalities, and microcosms.
From the Jane Doe Series
April 30, 2018
Issue 15, Issue 15 Art, Studio
Untitled from the Jane Doe Series
From the Room 11 Series
April 30, 2018
Issue 15, Issue 15 Art, Studio
Untitled
From the Room 11 Series
Home Invasion
April 30, 2018
Issue 15, Issue 15 Art, Studio
Images by MARTHA ROSLER
Introduction by DARSIE ALEXANDER
Series of Thought
November 3, 2017
Issue 14, Issue 14 Art, Studio
Images by Michael Mazur and Betsey Garand
Three weeks ago, I had an intimate and frenzied encounter with a wild bobcat as it was chasing my chickens. We locked eyes for a moment, and I quickly glanced down at its large, impressive paws. Tawny, speckled fur contrasted starkly with razor-sharp black claws. It ran off to the edge of the woods, first stopping to glance back at me before disappearing into the thicket. I began to think of a series of intaglio prints that would capture the essence of this feral fury.
Drawing from Experience
June 2, 2017
Studio
By FRED LYNCH
Scene Stealing, ink on paper, 15 x 11.5”
“The painter wanders and loiters contentedly from place to place, always on the lookout for some brilliant butterfly of a picture which can be caught and set up and carried safely home.”
– Winston Churchill, 1948, Painting as a Pastime
Under Current: Tidal Pull
April 15, 2017
Issue 13, Issue 13 Art, Studio
Where do your shapes come from? This is a common question I encounter.
I dislodge shapes stored in my body through the act of drawing. These shapes originate from a vast matrix of experiences. There are typically three categories of overt reference: art and archeological objects I seek out through research and travel; landscape; and direct physical experiences (floating on a lake, running in the woods, dance, aging, sex).
Rico Gatson: Selections
November 1, 2016
Issue 12, Issue 12 Art, Studio
By RICO GATSON
Introduction by David E. Little
What was required was a new story, a new history told through the lens of our struggle.
—Ta-Nehisi Coates
They say there’s nothing harder than hitting a fastball. In America, clichés on the difficulty of sports abound. But how to describe the challenges of art?