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Even her utilitarian tableware—tortilla plates and coffee mugs—appear sculptural, not functional. Whereas many ceramicists, including her husband, take great pains to rid their work of evidence of their physicality, eradicating touch, pressure, emotion, and kinetic energy, Magdalena’s sculptures quiver with her presence. Fingerprints, pinch marks, patchwork, the spontaneity and surety of her brushstrokes altogether engender a perceptible alive-ness.

Without a Future, We Can Be Forever

In Part One of this two-part conversation, Will Corwin and Karen Holmberg discuss her fascination with volcanoes, her discovery of mysterious “spider vulva” petroglyphs, and consider whether these images can still speak to us.

Providing access to the exhibition for blind and partially sighted people, this audio description acts as a way in for all audiences. Excitingly, here, through this interpretive sonic contribution, the visual aid becomes an affective feature rather than simply a functional element. It affects pace, the order of encounter, and the awareness of oneself in the environment, embedding us within it. It asks us to pay attention, to be indulgent with our time, and in so doing, to allow details and sensations to emerge.

In so far as the afterlife is accessed through the imagination, the afterlife situates what a future world might entail, and rearranges the pieces of the world, as we knew it, into a vision of the future. Afterlife Geographies considers sacred sites, sites of restoration, sites of reclamation, and sites of liberation.

In Thill’s work, spirituality and hope coexist in tension with the banal materials of daily life, presenting an idea of transcendence that must pass through and engage with the grit of existence.

In It’s Still Not Me, It’s You at Atlanta’s Echo Contemporary Art, Platner’s self-portraits and installations invite the viewer into her world. She coaxes empathy through a variety of strategies, some that are playful and interactive, others that involve showing pain.