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As New York artist James Siena tells it, the small town of Otis in Western Massachusetts (incorporated in 1810) has only ever been distinguished for two things: an early nudist colony, established in 1933, and the house of Squire Lester Filley, a noted lawyer, member of the State Legislature and founder of the local Episcopal church. Read More
James Siena In 2004 we rented a house in the Berkshires for part of the summer and picked up a book of real estate listings for fantasy’s sake Read More
At the end of the eight-page description of Diego Velazquez’ Las Meninas (1656) that opens The Order of Things, Michel Foucault acknowledged a fundamental snag in his undertaking Read More
Read MoreWe are very pleased that the dialogue initiated in Peter Parshall’s Inaugural Lecture for the Association of Print Scholars, “Why Study Prints Now?,” continues in this issue of Art in Print
Read MoreOver the last half-millennium prints have found their way into every corner of the pictorial and plastic arts and in many ways can be understood as a binding medium in the history of Western art from the early modern period to the present
Read MoreIn 1987, during the fall semester of my first year in a settled teaching job, I went to Lawrence, Kansas, for a conference in honor of the “Little Masters” exhibition curated by Stephen Goddard, and there I was introduced to Peter Parshall
Read MoreToward the end of his 2015 lecture to the Association of Print Scholars, Peter Parshall discussed the ordering of art objects according to the “material factor [that] has long been a standard basis for curatorial alignments.”
Read MoreArt in Art in Print is an irregular, ongoing series of projects in which artists create art within the journal—not a piece of art that exists somewhere else and is reproduced in the journal, but a project designed specifically for the material, technological and social context of Art in Print. We are pleased to present Alexander Massouras' The Real and the Imaginary as the fifth of these projects.
On the subcontinent, Indian lithographs of the gods are displayed everywhere, from temples to taxicabs, and revered by millions as a means to darshan, or communion with the gods Read More