“Photography is enough in itself for existing, and so are the many advocacies of Bliss’ photography.”
The Advocacies of Edirin John Duvwiama’s Photography
An Interview With Don Julien: When the world is quiet
We were grateful for the opportunity to ask Don Julien a few questions about his photography.
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.
Flash fiction: Storm Warning
The river smell becomes the rain smell, and the rain comes, as it always does, expected but surprising, changing everything.
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 … “
Anchor Holding
It also reminds me that regardless of thoughtful preparations there is often a point – not always visible – that once passed steals your ability to shape the future, leaving you without alternative, a passenger on the deaf and indifferent winds of fate.
Letter From the Editor, October, 2024: Train Station Dreams
October ramblings.
A Garland of Melodies: Reimagining Ragamalas
A facinating article about a special category of miniature painting called ‘Ragamala,’ which is the pictorial representation of an Indian musical mode or melody which is called a ‘raga.’
Just When I Thought I Was Out, They Pull Me Back In
“I deciphered the occasional splash of graffiti: alongside youthful declarations of love and football were vague revolutionary slogans: “Freedom is a Right”, “Liberty”, and “Just when I thought I was out, they pull me back in.”
The Alchemy of Grief: Moon Horse and Sky
“Pigments from a rock collected under her horse’s hooves are woven together with ochre earth pigments from France, the same ochres used by Van Gogh in his paintings of sunlit fields.” An interview with Santa Fe photographer and painter Stella Maria Baer by Alice Courtright
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