Twelve portraits by ten artists: Rafael DeJesus, Theodora Moss, Gilbert Poole, RoShuan Smith, Raymond Gray, Nino Tanzini, Bryan Picken, Moses Whitepig, Johnnie Trice, and Anonymous Artist.
Twelve portraits by ten artists: Rafael DeJesus, Theodora Moss, Gilbert Poole, RoShuan Smith, Raymond Gray, Nino Tanzini, Bryan Picken, Moses Whitepig, Johnnie Trice, and Anonymous Artist.
Who gets to be considered an outsider artist, or an artist at all? Alison Stine on John B. McLemore (the unlikely star of the blockbuster podcast S-Town), the politics of art and access, her own artistic practices, and more.
Stephanie Ellis Schlaifer and Cheryl Wassenaar take us into The Cabinet of Ordinary Affairs, an art exhibit inspired by a poetry manuscript by Schlaifer, in which they explore the bureaucracy of the mind through imagined interior government officials and cabinets.
Fatimah Asghar and Shyama Golden discuss how Shyama created cover art for Fatimah’s debut collection of poetry, If They Come For Us, and more. Including glimpses of Shyama’s drafting process and three other pieces of art.
After Terrance Hayes completed American Sonnets for My Past and Future Assassin, he found he had some remaining fragments and lines that yet “begged … for shape.” From them he has been making drawings.
Lesley Jenike encounters a painting with an intriguing title—The Goodbye Door by Joan Mitchell—at around the same time that she learns about the discovery of remains of infants and small children near a Catholic Church-run home for mothers and babies born out of wedlock in Tuam, Ireland. In this essay, Jenike meditates on Mitchell, Tuam, her own life, internalized misogyny, resistance, synesthesia, narrative, love, and more.
Merridawn Duckler takes us beyond “No” and “No” into Double Negative, Michael Heizer’s monumental piece of land art stationed in Nevada.
“For me, each dress functions the way a poem does: ‘A poem should not mean / But be.’” Emily Mohn-Slate on “Girls Write the Museum,” the art of Iris van Herpen’s couture, poetry, and the feeling that the world could be colossal.
Four haunting and alluring paintings by Margarita Gokun, a writer, novelist, and painter, and an editor’s note.
Talking with artist and printmaker Takuji Hamanaka about his hybrid woodcut and collage works: radical displacements from his training in traditional Japanese woodblock printmaking.