by Liv Albright
I look in the mirror. My chin shrugs. The left corner of my mouth twists into a smirk. An eyelid snaps shut. I look down at white ceramic, so I don’t have to watch my face move against my will, a side effect of Risperdal. Tardive dyskinesia. Continue reading “There is No Dreaming Here”
Welcome to After the Art’s twenty-fourth issue.
We hope you enjoy these four essays:
“The Tragedies of Ecstasy” by Lillian Snortland
“Egon Schiele — Vienna’s Turn of the Century Rock Star” by Beatriz Zimmermann
“Glass Houses” by Dana Delibovi
“Still Light” by Nancy Casciato
by Beatriz Zimmermann
Egon Schiele’s self-portrait, a study in badass attitude if ever there was one, hangs in New York City’s Neue Gallery, an elegant Upper East Side maison that houses one of the greatest collections of early twentieth century Austrian and German art. Continue reading “Egon Schiele – Vienna’s Turn of the Century Rock Star”
by Dana Delibovi
I grew up two towns west of Philip Johnson’s Glass House. Continue reading “Glass Houses”
by Nancy Casciato
We only see what we look at.
John Berger, Ways of Seeing
I manage to keep quiet while we order our brownie and coffee, but as soon as we sit down and prop elbows across the tiny museum café table, I blurt out: “She looks just like Girl with a Red Hat!” Continue reading “Still Light”
by Lillian Deja Snortland
Winter of 2024, I find myself standing before Dorothea Tanning’s painting Notes for an Apocalypse at the MoMA in Manhattan. Continue reading “The Tragedies of Ecstasy”
Welcome to After the Art’s twenty-third issue.
We hope you enjoy these three essays:
“‘Good Grief!’: Getting to the Heart of Charles Schulz’s Peanuts” by Daniel A. Hill
“Nothing Can Be More Abstract, More Unreal, Than What We Actually See” by Daniel Barbiero
“The Campell Soup Cans: A Reluctant Appreciation” by C. Graham Campbell
by Daniel A. Hill
I suppose I could say that I’m writing about Charles Schulz and his venerable Peanuts comic strip series because the guy lived his formative years less than a mile from my house in St. Paul, Minnesota. Or that as a kid I devoured his three-panel portraits of childhood mischief and despair. Neither reason really explains why I’m writing about Charles and Charlie now, though. Continue reading ““Good Grief!”: Getting to the Heart of Charles Schulz’s Peanuts”
by Daniel Barbiero
Seven objects crowd close together on a plain surface within a neutral space. Continue reading “Nothing Can Be More Abstract, More Unreal, Than What We Actually See”
By C. Graham Campbell, Ph.D.
I have always been proud of my name and its heritage from the highlands of Scotland. But then to suddenly see it plastered all over campus dorms, magazine covers, and television news stories about the new ‘Pop’ art was just more than my twenty-one-year-old self could rationally tolerate. Continue reading “The Campbell Soup Cans: A Reluctant Appreciation”
After the Art 