FRONT COVER: Constance Lowe, FabCom 12, 2003
Colored pencil on plotter film
36 x 24 inches (image size: 16 1/8 x 12 inches)

BACK COVER: Virgil Grotfeldt, Untitled, 2000
Coal dust and acrylic on found paper
12 x 7 inches

FEATURES

Adrian Esparza

Becky Hendrick

It has been nearly three decades since Jay Rosen observed that the arts of the twentieth century, written as well as visual, were becoming packages of disconnected...

Quotidian Practice, Inordinate Content

Paula Owen

During the heyday of Modernism, the evidence of the artist's hand in an artwork was considered anachronistic and ultimately inconsequential to the meaning...

In and Out of Bounds

Constance Lowe

My work has always been involved with familiar images and objects and the significance of the materials from which they're made. Several years ago, after finishing an exhaustive...

The Irresolute Potential in the
Unimagined Possibility

Martin Gantman

It begins with a wall, broad and bare, and the imminent possibility of dying. The wall, blank stucco and inexpressibly colorless, spans the width of his yard. The yard...

Virgil Grotfeldt

I am not a painter

Kathleen Whitney

Visuality can conjoin looking and reading, sensation and narrative. Yet, writing can betray visuality. In order to establish groundwork for looking at and writing about...

A Face-off with Portaiture Joey Fauerso Deepens the Genre

Wendy Weil Atwell

The most compelling aspect of portraiture may be that the subject can never be completely known. While traditional portrait painters may paint clues that point to the specific...

Olafur Eliasson

Beyond All Analysis

Christopher Miles

In 1845, while traveling in Venice, the English critic John Ruskin visited the Scuola Grande di San Rocco, a veritable temple to Jacopo Robusti Tintoretto. Standing before Tintoretto's 1565 Crucifixion...