Artists Featured in LIT 38
Mark Hurtibise:
(on the cover) Beelzebub’s Sycophants, 2022, photograph
Last Judgement, 2023, photograph
Mark Hurtubise published numerous works during the 1970s. Then family, graduate school, two college presidencies and a community foundation CEO. After four decades, he is creating again from the Pacific Northwest like a pregnant bird balancing on a twig. Recently, his offspring have appeared in several locales such as Tampa Review; North Dakota Quarterly; Bard College Center/Study of Hate, filmed interview; and Stanford Social Innovation Review.
Mark believes if one accepts as truth that all time is now, then simultaneous worlds abound around and through us. They aren’t simply spaces defined by geometry, but also energy enhanced by souls, which embody moral tensions. Thus, Beelzebub’s Sycophants will search for soil to seed with evil to please their diabolical ruler, while an angel rises for the Last Judgment with a catalog of our choices.
By Monica Banks:
Rose Cake, 2023, Photograph of birds interacting with porcelain sculpture
Monica Banks is an award winning sculptor whose work is widely held in public collections. She creates cakes and other domestic objects out of porcelain, fills them with seed, and documents the birds’ interactions with them.
By Matt Bollinger:
Turntable, 2018, flashe and acrylic on canvas, 16” x 20”
An Opening, 2012, Flashe, acrylic, watercolor and spray paint on cut and pasted paper, 72” x 48”
Both works courtesy mother’s tankstation ltd. and François Ghebaly Gallery
Matt Bollinger received his BFA from the Kansas City Art Institute in Painting and Creative
Writing and his MFA from the Rhode Island School of Design in Painting. His work has
been exhibited in solo shows in New York, Dublin, London, Paris, Los Angeles and
elsewhere. He is represented by mother’s tankstation and François Ghebaly Gallery. He
lives and works in New York State.
By Ana Prundaru:
Higher Plane, 2024, digital media
wishuwerehere, 2024, digital media
Ana Prundaru was born in Romania and presently lives in Switzerland. Alongside her legal career, she writes and illustrates for publications like Faultline, About Place, Sundog Lit, The Journal and Third Coast.
By Andy Mister:
Virginia Beach (Before Sandy), 2020, Carbon pencil, charcoal and acrylic on paper on panel, 22 x 24
Bedside Table II, 2024, Pastel on acrylic ground on paper, Image size: 20 x 16 in, paper size: 23 x 19
Because Tonight Is Just Like Any Other Night, 2018, carbon pencil charcoal and acrylic on paper mounted on panel, 32 x 23
Joshua Tree, 2020, Carbon pencil and acrylic on paper mounted on panel, 32 X 24
Andy Mister’s work has been exhibited at OCHI Gallery, Ketchum, ID; Hirschl & Adler Modern, New York, NY; Turn Gallery, New York, NY; Lowell Ryan Projects, Los Angeles, CA; Commune Gallery, Tokyo, Japan; Joshua Liner Gallery, New York, NY; Morgan Lehman Gallery, New York, NY; Geoffrey Young Gallery, Great Barrington, MA; Dieu Donné, New York, NY; Sevil Dolmaci, Istanbul, TR, and elsewhere. His work has been covered in Frontrunner Magazine, Hyperallergic and Quiet Lunch. The Cultural Society published Heroes & Villains, a book of his drawings, in the fall of 2014. Commune Editions published Distorted Ghosts, a monograph of his work in 2019. He has been awarded residencies from the Lower Manhattan Cultural Council, New York, NY, and the Bemis Center for Contemporary Arts, Omaha, NE. Recently, Mister’s work was included in “Twenty Twenty” at the Aldrich Contemporary Art Museum, Ridgefield, CT. His next solo show, I always knew it would come to this, opens in November at Rebecca Camacho Presents in San Francisco. He lives with his wife, two children and two dogs in Binghamton, NY.
By Adelaide Snow
Heron, 2024
Adelaide Snow is a multimedia artist from Washington State, and a BFA student at Brooklyn College, where she is also pursuing a Bachelor’s degree in History. With a focus on soft sculpture and assemblage, Adelaide explores the relationships between place and emotion. Her work invites viewers to reflect on the connections between space and feeling, hoping to merge historical context with contemporary practices. In her free time, Adelaide enjoys playing instruments with friends, biking aimlessly, and a good puzzle.
By Bill Wolak:
The Moon’s Secret Perfume, 2023
Reflections From the River’s Fleeting Eyes, 2023
Artists Statement:
Everywhere we look there are faces staring back at us. Out of the corner of the eye, we spy a wink from a passing shadow or a smile in a gleam of water. We project our selves outward into the field we experience. These four collages record what I have discovered in flowers, hair, and other objects.
I make collages out of all kinds of materials. Most are made out of paper engravings. Many collages are digitally generated or enhanced. To begin a piece, I select some sources—either color or black and white. If I’m using magazines or prints or old books, I cut out some images or parts of images that interest me. Then I start working on a background or some other sort of chance construction. Much is left to fleeting insights. These are tiny miracles of inspiration. Depending on whether I’m using scissors and glue or digital images, each collage could take several hours. Sometimes it takes several days or even weeks to know if a collage is finished. Much depends on the kind of collage and the size. My photographs are usually photo collages or, if not, they in some way attempt to represent the figure, usually naked, using an unusual or unexpected approach.
Bill Wolak is a poet, collage artist, and photographer who lives in New Jersey and has just
published his eighteenth book of poetry entitled All the Wind’s Unfinished Kisses with Ekstasis
Editions. His most recent translation with Mahmood Karimi-Hakak, Love Me More Than the
Others: Selected Poetry or Iraj Mirza, was published by Cross-Cultural Communications in
2014.
