FRONT COVER: Constance Lowe, FabCom 12, 2003
Colored pencil on plotter film
36 x 24 inches (image size: 16 1/8 x 12 inches)
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...
During the heyday of Modernism, the evidence of the artist's hand in an artwork was considered anachronistic and ultimately inconsequential to the meaning...

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...
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...
I am not a painter
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...

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...
Beyond All Analysis
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...
23rd AMODA Digital Showcase and...
- Shaka McGlotten -
Anitra Blayton: Dialog: Historic...
- Peggy Heinkel-Wolfe -
Matthew Barney: The Cremaster Cycle
- Jennifer Jankauskas -
Ewa Bathelier: Outside/In
- Ileana Marcoulesco -
Chuck Close: Prints: Process and...
- Charlotte Cousins -
Jeff Shore and John Fisher: Live...
- Janaki Lennie -
Kazimir Malevich: Supermatism
- Ileana Marcoulesco -
Ken Little: Little Changes
- Anjali Gupta -
Anna Ferrer: The Emotional City...
- Alana Keres -
Michele Monseau: Gone Again
- Catherine Walworth -
Chuck Ramirez
- Henry Rayburn -
Tracey Snelling: Sculpture and...
- Wendy Weil Atwell -