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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.

Fausto had tried to speak, but was denied. Instead he fired a gun into the air. Both men reached for the heavens — figuratively (Faust) and literally (Fausto), and both fell, with tragic consequences.

Jemma Desai’s essay “What do we want from each other after we have told our stories,” whispers abolition and points to the question: What if we say no?

Sara Wintz, Carin Kuoni and Laura Raicovich discuss the impossibility of neutrality

Where is the artworld “Left” in the age of “trickle-down,” homelessness, the rise of the Aryan Nation and corporate art coma: a dehumanization of art and artist into a common denominator of profit?

Catchwords like “diversity,” “transculturalism,” “pluralism” cause my antennae to go up, and warning bells of skepticism to go off in my head. Not about these ideas per se, you understand, but about the way they are being implemented in our free-enterprise society in the 1980’s.

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.