For Sorel Etrog, the human head is a landscape in which to explore and articulate the tension between the interior life of humans and the exterior reality they face; from our winter 2001 issue.
“The human eye takes in the fastest wavelength first,” Barry Oretsky explains. “So when you put a colour on a white canvas, you see the white first.” It’s a conclusion that Leonardo da Vinci reportedly arrived at as well; from our summer 2013 issue. Photographed by Mark Peckmezian.
“Processes of hand-making, craft, the body, feminist political concerns, the intimate, and the psychosexual”—these ideas have dominated Shary Boyle‘s work, and she’s explored them through an almost dizzying variety of media; from our autumn 2013 issue. Photographed by Miguel Jacob.
David Altmejd’s acclaimed work often delves into themes like transformation and containment, and his inclusion of mythical creatures, including giants, werewolves, and angels, invites science fiction and mythology references; from our spring 2012 issue. Photographed by Jody Rogac.
Ian Wallace is often cited as the godfather of photoconceptualism. He is often lauded, too, for being a mentor to other “conceptual” greats like Rodney Graham and, most notably, Jeff Wall; from our spring 2013 issue. Photographed by Grant Harder.
“Everybody’s got their eyes open, but most people don’t look to the right places,” says Nir Hod, Israeli-born, New York–based artist; from our winter 2013 issue. Photographed by Mark Peckmezian.
When Tom Sachs was eight years old, his father wanted a camera. Since the camera was too expensive to buy, the young Sachs made him one of clay instead. One might dare to guess that the clay version was way cooler than the original; from our autumn 2012 issue. Photographed by Jody Rogac.
Despite so much variety—from cartoon figure outlines made from ultra-long stretches of black tape to giant linoleum cut-outs suspended in doorways—a consistent thread connects Julien Gardair’s work; from our autumn 2011 issue. Photographed by Jody Rogac.
“I’m a painter, an artist. Simple. My work is about painting,” José Parlá says. “I love everyone, and I am also a pirate who prefers to dream of utopia.” From our spring 2011 issue. Photographed by Peter Ash Lee.
Drew Struzan invests his time and his ability in movie poster art because it is part of his understanding of the world. “The most important thing for me is to have people see my work, to participate in it, to like or dislike it—and to engage in it,” he says; from our winter 2008 issue.
In the art world, Frank Stella isn’t just a star—he’s his own galaxy, and he’s credited with nothing less than changing the direction of abstract painting; from our summer 2008 issue. Photographed by Mark Zibert.
As a child growing up on the South Island, Christine Boswijk was happiest being creative—for instance, making doll’s clothes—and actively using her hands. “I knew I wanted to be an artist,” she says; from our winter 2007 issue. Photographed by Elspeth Collier.
“In my own work, commenting on personal issues is far less interesting than participating in a larger dialogue, whether the subject is medical advances such as cloning or the cultural influences of celebrities like Madonna,” says Anitz Kunz; from our summer 2002 issue.
Over the past 15 years, we have spoken with important artists of our time, who work in mediums ranging from illustration and painting to sculpture and bricolage, graffiti and mixed media. They push boundaries, comment on the human condition, and continue to hone their craft.
Some, like Tom Sachs, Christine Boswijk, and Alessandro Papetti knew their calling from an early age. Others develop their work through recurring themes, such as vanity (Nir Hod), mythology (David Altmejd), and the intimate and pyschosexual (Shary Boyle). We await their future works, and celebrate their creative talents, their drive to push the limits of artistic freedom, and their desire to challenge us as viewers.