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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.

Carrie Lambert-Beatty discusses her latest research by way of the value of investigation, epistemological behaviors, and fake news in an age of uncertainty.

Krista Belle Stewart mines the power of strategic incomprehensibility to reclaim ownership through the mediation of access and refusal.

Despite the diminutive size of our bodies, the Earth, in all its grand scale and complexity, is managing to grow inside us.

Organizing these materials in our studio is the outermost tip of a complex global distribution network of intricate webs of highways, shipping routes, rail lines, and flight paths—a planetary vascular system and neural network, a pulsing flow of matter and information covering the surface of the earth.

I think that you and I both approach the natural world similarly with our work. In a meditative and devotional way, in which we try to look deeper and deeper into the visuality and details of nature.

In ecology, a place that comes into being only when two other places meet, is called the ecotone.

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.