No. 27: Our Good Earth? by Nathan Meltz

John Steuart Curry, Our Good Earth (1942), oil on hardboard, 60 1/8 x 48 1/8 inches.Chazen Museum of Art, University of Wisconsin-Madison, on loan from the College of Agricultural and Life Sciences, University of Wisconsin-Madison (Gift of the U.S. Treasury Department to the College of Agriculture).

Last fall, I began teaching a course at the Cooper Union on 20th-century American printmaking. When, about a month into the semester, I lectured on American Regionalist artists of the 1930s and ’40s, the students’ reactions were subdued Read More

No. 26: Emanuel 9 (2017) by Dan Wood

Dan Wood, Emanuel 9 (2017).

Grace. Change. It was the power of those words in the letterpress print Emanuel 9 that enthralled me. Words like these—spoken or printed—inform, instruct and inspire. Before I learned the identity of the artist or the speaker Read More

No. 25: Over the hill by Ralph Overill

Ralph Overill, Over the hill (2017).

I have a dim—possibly apocryphal—recollection that, at some point in the mid-1970s, I read an article in the International Herald Tribune about the history of updating the 20th-century Arabic lexicon to accommodate new technological and cultural innovations Read More

No. 24: Vital Signs by Stacey Steers

Stacey Steers, Vital Signs (2017).

Politics and the world being as they are, I initially responded to this print among the host of terrific works submitted for the Prix de Print because it seemed to offer an escape into a realm of dreams and fantasy. A gorgeous image in apparently constant, even bubbling motion Read More

No. 23: Recent Antiquities by Cooper Holoweski

Cooper Holoweski, Fragments of a Broken CD-R—After Piranesi’s Fragments of the Marble Plan of Ancient Rome from Recent Antiquities (2016).

In the series Recent Antiquities (2016), Cooper Holoweski follows the tradition of artists who have taken earlier artworks as starting points for new ones. One immediately thinks of Roy Lichtenstein’s Cathedral lithographs made in 1969 Read More

No. 21: A Cloud in Trousers by Thorsten Dennerline

Thorsten Dennerline, A Cloud in Trousers (2016).

Lewis Carroll’s revolutionary children’s book Alice in Wonderland first appeared in 1865. The author had chosen as his illustrator the political cartoonist John Tenniel, and such was Tenniel’s impact on the story that his interpretations quickly became regarded as indispensable Read More

No. 20: Time Machine for Abandoned Futures by Colin Lyons

Colin Lyons, Time Machine for Abandoned Futures (2015). View of the installation on Midnight Dome in the Klondike. Time Machine for Abandoned Futures was produced with the support of Klondike Institute of Art & Culture and Canada Council for the Arts. All photos by the artist.

Erected on a bluff overlooking Bonanza Creek in the Canadian Yukon, Colin Lyons’ Time Machine for Abandoned Futures uses a vast battery, made of etching plates and acid, to power the electrolytic cleaning of broken tools and machine parts left behind by the Klondike Gold Rush Read More