Photographer Ololade Koleosho believes that the lives of single mothers dwells somewhere on the “delicate balance between struggle and celebration.”
When Photography Asks Questions of Destiny and Known or Unknown Outcomes
How Free is Free: Ben Shahn, the Statue of Liberty, and the History of American Art
Historians of American art are engaged in a search for ways in which to speak meaningfully and broadly about contested traditions and about both the promises and limits of the country’s national iconography and history, to a nation fragmented along racial, ethnic, class, and religious lines.
A Visitation
“Whatever had happened—the way the clouds moved, where the light shone, what was going through my head, that radiance—was another chapter in a story that began a half-century ago.”
January Issue, 2025
A collection of all the articles we’ve published over the past month, for those who like to savor their Magpies’ tidings as an issue.
Korean Folk Painting: Minhwa
“The power of Minhwa lies ultimately in the fact that it participates in a universal code — a common denominator for all living human beings, a core of desires and beliefs that is tied to basic human activities … “
Dorothea Lange and the Japanese-American Internment
The military seized her photographs, quietly depositing them in the National Archives, where they remained mostly unseen and unpublished until 2006
Black and White
Thoughts on light, color, painting, time passing, and the meaning of words from Robert Beck.
Composite Artwork: Communicating Greater Reality?
These paintings symbolise the interconnectedness of all things, and that we live in a unified universe.
Leopoldo Méndez: An Aesthetic of Protest
“…a new aesthetic, one of protest, full of popular longings, and that lives in the full multitude of rebellion, is strong and great and captures us with the emotion of battle — this is life.”
Samuel Oladele’s Bordering Portraits
“When we view the pictures, we are drawn into a region of borders, boundaries, and limits. When asked about this idea behind his photography, Oladele calls it the unique African way of looking.”
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