Digital Sculpture: Ars Ex Machina

In the mid-19th century, Oliver Wendell Holmes hailed the photographic, dual-image “stereograph,” a term he coined, as mankind’s greatest achievement because its three-dimensional illusion allowed “form henceforth divorced from matter.”1 Since that time, form has repeatedly asserted its independence from matter in myriad photographic and cinematic inventions.

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Manfred Muller: The Labyrinth of Memory

Manfred Muller, Palacio de Memoria LCI [Lower Color Intention], 2003. Red primed paper with oil pastel and linseed oil on mat board, 37.5 x 16 in. From Matteo Ricci’s 15th-century tale Palace of Memory to Italo Calvino’s 20th-century Invisible Cities and Hans Magnus Enzensberger’s recent Civil Wars, European writers have continuously explored memory as an artistic

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