Monsters
Charlie White sends subtle messages. His photographs twist our social mores, commenting on the associations we make with famous (and imagined) events, art, and characters—revealing the monsters that hide in our corners.
Galleries
A collection of 422 issues
Still Life
Martin Klimas breaks recognizable objects so they become something else, and stops us just at the moment of transformation.
Hand Job
The composition of everyday things is up for review. Each week we find out new things about genes, about molecular structures—so why not the letters we read on signs, in magazines, on the flipside of our hovering skateboards?
Running the Numbers
Chris Jordan takes reports of large-scale waste and consumption out of the realm of statistics and places them squarely in front of our faces.
Back to Nature
It’s not unusual to find art in a gallery made from human materials—but some images are more graceful than others. The watercolors and packing-tape installations of Robert Waters are frank and intimate with luminous simplicity; what they’re made from serves the message, and not the other way around.
Obedience
Even if you’ve never heard his name, chances are you’ve seen Shepard Fairey’s stickers, posters, and stencils on lampposts in New York City, or peeking out from doorways and street signs in one of the countless countries where his street art has traveled.
Wild Animals
Think of your favorite teddy bear. Now imagine it’s been ripped open, gutted, and turned inside-out. That’s what Kent Rogowski has done to the iconic stuffed animals of our childhoods.
Friends and Family
Terry Rowlett searches for meaning through contemporary work with undeniable ties to painting’s history. In his work, Rowlett’s friends mirror his own struggles and exalt his triumphs.
Company of American Girls
Art, female identity, and day-to-day life intersect in Melissa Ann Pinney’s photographs. Deeply focused on the worlds of her daughter and other girls, Pinney’s work tells a story of girlhood as it’s being written.
Working With Family
For Coke Wisdom O’Neal, placing portraits of loved ones on three-dimensional pedestals is merely the next move in a broad challenge of traditional portraiture.