In Mark McKnight’s photographs, the material of the terrestrial world merges with a celestial aspect. Dark bodies, asphalt, oily birds, decomposing stone, and dimpled flesh all radiate from a field of tarry shadow.
A selection of daguerreotypes, micro-photographs, and film stills by two artists.
With contributions from Laurie Simmons, Amy Jenkins, Mary Helena Clark, and more.
The sound artist on collecting and hunting for language.
Dawn Clements (1958–2018) was an artist based in Brooklyn. Her paintings and drawings captured her immediate surroundings as well as architectural interiors from films.
The Singaporean filmmaker on migrant labor; visitations; and his recent work, A Land Imagined.
The paintings in HumidGray and ShadowLake evoke synesthetic colors, remembered landscapes, and the physical performance inherent in marking a canvas.
The artist talks about mixing tradition and innovation.
Fellow painters Greg Lindquist and Tom McGrath sit down to discuss landscape painting in an era steeped in new media and technology.
This First Proof contains four poems titled “An Intersection of Leaves not Likeness” and “An Intersection of Leaves not Loss.”
“Given the time we’re living in it is useless to paint the landscape simply for its beauty or to delight in its pastoral order. It’s really more in flux than anything else, more of a focus for emotion, expression, experience, and memory.”
Black-and-white photograph, The Artist on Holiday by Geralyn Donahue.
Two photographs of serene, water-filled landscapes, Patrick and Amazon by Sally Gall.
Painting by Giorgio de Chirico, 1913, 29½ × 39½ inches.
Four watercolors of natural landscapes, 1977–81, Drive-in Movie, Santa Barbara, California; Rocky Beach, Santa Barbara, California; and Full Moon and Rising Sun Near Tulsa, Oklahoma by Alfred Leslie.