An installment in our weekly series, The By and By.
San Antonio is the patron saint of lost causes, and Rolando created a statue of him in faux-marble white with the Alamo perched like a hat, except that the saint is upside down, so the Alamo is at his feet. When you want something, Rolando says, you flip the statue upside down.
A featured short story from the Fall 2018 issue.
Our distant ancestor Harriett Moss made a living painting portraits of dead children. But before her career began in earnest, she sketched only cows. It was her husband, Thomas Moss, who painted from corpses, memorializing deceased sons and daughters for their families. People often said Thomas had the constitution for the work because he and Harriett had not been able to have children of their own. While Thomas traveled the countryside—following up with commissions, measuring cadavers that he would reanimate in two dimensions—Harriett was left alone at their farmhouse.
Photographs from the Summer 2017 issue by Johanne Rahaman with an introduction by Sarah Stacke.
Built in the early 1940s, Blodgett Homes is a 654-unit public housing complex. According to Cherlise, who was born in 1982, the community there used to operate like a family-minded village. But a downward spiral began in 1960 when Interstate 95 was built—with the government’s full understanding of the disruption it would cause—on the complex’s doorstep, provoking many families to move.
Photographs from This Land: An American Portrait.
Jack Spencer spent thirteen years working on the project and traveled more than eighty thousand miles across all forty-eight contiguous states looking for scenes and moments that he says are “an expression of the perception of an ideal.”
On view right now at the Nasher Museum of Art at Duke University is a crucial exhibition for these times. Southern Accent: Seeking the American South in Contemporary Art is a necessarily broad group of artwork that takes the South as its subject and approaches it from a wide array of viewpoints.
It’s a brisk February afternoon in Lexington, Kentucky, and Louis Zoeller Bickett II and I are sitting in his office, which is lined with 500 binders. A few shelves of author-signed books, all of them tagged and indexed, stand in the room behind me. Our coffee mugs are not tagged, but the small Windsor chair I’m sitting in is.
“My father was a coal miner for thirty-five years and died of black lung,” Howard told me, while resting from the heat and overhead brushstrokes of the outdoor mural he’s working on for a local food pantry. “When I [told my father] I wanted to study art—well, that wasn’t well received.”