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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

By AMANDA VALDEZ

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?

Headwinds

March 23, 2016 Studio

Artist: FRANCES STROH

“I realized these were all the snapshots which our children would look at someday with wonder, thinking their parents had lived smooth, well-ordered lives and got up in the morning to walk proudly on the sidewalks of life, never dreaming the raggedy madness and riot of our actual lives, our actual night, the hell of it, the senseless emptiness.”
― Jack Kerouac, On the Road

Millennium Camera

November 1, 2015 Issue 10, Issue 10 Art, Issues, Studio

By JONATHON KEATS

Jonathon Keats has been described by The New Yorker as a “poet of ideas.” Keats’s latest project is the Millennium Camera, a custom-built pinhole camera with a one-thousand-year exposure time that will remain inside Amherst College’s Stearns Steeple until 3015. In May 2015, the college’s Mead Art Museum documented the intellectual and material creation of Keats’s camera, displaying its blueprints and predecessors alongside the camera itself in an exhibition titled Jonathon Keats: Photographing Deep Time. To commemorate the opening of the exhibition, Keats spoke with Vanja Malloy, the Mead’s curator of American art, about deep-time photography and about the rapidly changing nature of humanity’s relationships with its environment and its descendants. This essay has been adapted from that conversation.

The Story Behind the Scenes

November 1, 2015 Issue 10, Issue 10 Art, Studio

By MORGAN ADAMS

I take the number 25 bus from Piazza San Marco north into the hills and get off at La Pietra—a stone marking one Roman mile from Florence. Behind the imposing gate, Villa La Pietra waits at the top of the long drive lined with Tuscan cypress trees.^[1]This fifteenth-century villa is the centerpiece of a fifty-seven-acre estate of Renaissance-revival gardens,a vast art collection, a library of over twelve thousand volumes, and olive groves with views of the Duomo.

Nicaragua Canal Project

October 2, 2015 Studio

Artist: BEN SHATTUCK

When I first heard of the Nicaraguan Canal Project, I thought of the 19th-century artists Martin Johnson Heade and Norton Bush. It was winter, and I was driving through Wisconsin, early evening, listening to the news. The canal, the reporter said, would be three times as long and twice as wide as the Panama Canal. It would fit extra-large container ships. It might stimulate Nicaragua’s economy. Environmental groups were protesting potentially large-scale disaster.

Poetry Month: Emily Dickinson Cartoon

April 1, 2015 Studio

By ROSANNA BRUNO

April is POETRY MONTH, and we’re kicking it off with a satirical cartoon of local poet Emily Dickinson: girl voted most likely to dwell in possibility…

Get into the spirit of POETRY MONTH with this satirical cartoon of Emily Dickinson, who reminds us to be wary when travelling…

Rosanna Bruno is a visual artist who lives and works in Brooklyn, NY.

Robert S. Duncanson and the Birthright of Landscape

March 6, 2015 Studio

Curated by AMY HALLIDAY

In his 1838 “Essay on American Scenery,” Thomas Cole—the celebrated “founding father” of the Hudson River School of American landscape painting—wrote that American landscapes are:

a subject that to every American ought to be of surpassing interest; for, whether he beholds the Hudson mingling waters with the Atlantic—explores the central wilds of this vast continent, or stands on the margin of the distant Oregon, he is still in the midst of American scenery—it is his own land; its beauty, its magnificence, its sublimity—all are his; and how undeserving of such a birthright, if he can turn towards it an unobserving eye, an unaffected heart!