The artist talks about the genesis, composition, and execution of a recently completed work.
Lucy Skaer might be hiding a time machine.
The Library of America, doing what it does best, offers six of Ward’s groundbreaking woodcut novels from the 1930s in a beautifully printed two-volume set.
Quinlan’s photographs picture—literally—smoke and mirrors; Beshty makes photos without a camera. They meet on a New York Chinatown rooftop to discuss their work.
James Welling on the photographs of Louise Lawler and how photography is “a medium without grammar.”
Amanda Means on how Corban Walker’s intricate prints celebrate both the human mind and the technique of the machine.
Tom Healy on the influences of science, nature, and the sun that define the photography of identical twins Doug & Mike Starn.
Jan Hendrix is a Dutch artist who has lived and worked in Mexico City since 1979.
Photographer Clifford Ross writes about his Wave Music project—the methods and equipment he uses as well as the philosophical underpinnings driving his work.
Often regarded as a Southern artist, William Eggleston does not consider himself as such in any traditional sense of the term.
The process of making photographs is full of mind twists: upside downs, downside ups, negatives/positives, blacks/whites…The camera sees with a lens that projects an upside-down image on the ground glass of a view camera.
Untitled sculpture and Cat Scan silkscreen and Xerox process print on Masa Japanese paper, edition of 25, by Steve Keister.
Untitled drypoint and acquatint etching from the portfolio Japanese Gothic by Stephen Ellis.
Two works by Rayberry—Life’s Charges, linoleum block and The Earth is Halfway Between Light and Dark, mezzotint on copper.
Stomach from Possession is Nine Tenths of the Law, a 1985 portfolio of color monoprints, by Kiki Smith.