Banerjee’s photographs ask us to reframe the way we look at our environment, by focusing on one eco-system–the Arctic National Wildlife Refuge–and the indigenous tribes, native animals and geological structures that populate it.
If, as a practical matter, The Curator spends most of her energy enhancing her reputation among the cosmopolitan museum set — well, so much the better! After all, you don’t expect her to stick around this hick town for long, do you?
San Francisco-based artist and teacher Wendy Testu discusses her latest project: a labor of love that galvanizes one community around its social and environmental history.
Artist and wanderlust William Wacker shares images and impressions gathered during his recent tour of Asia, why he needs to catch up on vampire flicks and how, when it comes to art, it’s sometimes best to “shoot from the hip.”
Philadelphia-based painter Joan Curran creates urban still lives inspired by the interaction between humans and nature–a constantly fluctuating relationship that reveals both beauty and excess.
Armed with a camera, Middlebury College professor John Huddleston makes pilgrimages into the American landscape to capture touchstones for shared cultural memory.
“Nature is always pressing, always growing up through the cracks,” he said. Middlebrook’s interest is the instant at which nature and humans collide, whether it be a natural disaster, or a weed growing in a parking lot.
Francesca Gavin contends that the works of today’s street artists are meant to jolt those passing by into an active reality, to turn a passive experience into a conversation, a situation, a happening in which thought is not simply a possible inevitability but a demand of the artist.
Artist Jane South discusses how her large-scale, wall-mounted constructions explore the "phenomenological experience of architecture."
Ash LaRose is a Burlington, Vermont-based photographer whose images explore the beauty–and vulnerability–of young women.
Imperium offers a now classic complaint against empire and American-style capitalism in the new millennium, and a familiarly cynical assessment of the ultimate futility of human history.
“I love history. A lot of how I view art has to deal with how art has been involved with history. I look at a lot of old things.”
San Francisco artist Kim Frohsin talks to Alexandra Tursi about her latest explorations, clears the air about her association with the Bay Area Figurative School, talks about publishing her first book of art, and details the personal relationships that come from working closely with models.