dumb: issue 01 - Brute Reason

01: BRUTE REASON, WINTER 2020
ALLERLEIRAUH, BROTHERS
THE BOTTOM LINE IS RED
AN EPILOGUE . . . BUT WAIT
FEATURING
ROBERT ASHLEY’S DUST
1

Show, don’t tell
2

01: BRUTE REASON, WINTER 2020
3

INTRO
Face the sun
They got stories
Face the sun
I listen to the story
I love the story
Go real fast
Faster, man
Some word
Stop all the shit
Got to go fast, man
I love the story
I need that sound, man
Like a story inside a story, you know what I mean
Robert Ashley, Dust, 1998
Typographers design using other people’s words but can only go
so far in modifying a text, even when there is a clear syntactic
path to understanding. The intention is not to provide a course,
but to create an experience based on language as presented
visually, in order to enhance perceptual meaning. Artists have
made similar gestures in varying forms throughout all of history.
In the play Hamlet, a troupe of actors are used to perform the play
The Murder of Gonzaga, but Hamlet modifies the play to convey
his suspicion of Claudius. Hamlet has reason to believe that
Claudius murdered his father, and wants to observe his reaction to
a reenactment of the assassination. The play-within-a-play is a
mousetrap, as Hamlet maintains, “The play is the thing Wherein
I’ll catch the conscience of the King.” A dumbshow, like
typography, is intended to help transfer meaning and provide
action to the main drama.
4

INTRO
The concept of this art journal was developed with these
devices in mind, and the dumbshow is also an inspiration for
the title. The theme for this first issue is entirely open, and the
works are arranged so that they might be read in new ways.
We are all, at some point, in a play-within-a-play gesturing
from our little stages what we want the institutions we are a
part of to see. This journal is a way to bring some of our
gestures and an audience together for a closer view, and better
understanding of what we mean to say with our work.
dumb is a student-run art journal at Pennsylvania Academy of
the Fine Arts. This first issue, Brute Reason, brings together
pieces from students, staff, and peers and is threaded with a
compilation of known works, notes, and other ponderings in
various forms of art and text.
5

GRAHAM CUDDY
Spring #2
6

ADRIANA LOBEL
Goose Tales
Princess Mouseskin
King, dumb. Said fast,“who loves me best”. Daughter #1 more
than jewels. Daughter two, wealth in kingdom. But Daughter
three, simple salt. King turned to the green, and said “to the
forest, with our foe”. Knife, beg relief. Do not engrave my
destiny. Carve me a suit of a Mouseskin, if you please.
Ferns grow, and cotton traps. Servant, prevailed unveiled
without nail, noose, or knife. True knights don’t have to use
knives. Mercy, made maiden miracled, unscathed. Princess
under covered mouse traps, untraps, with Mouseskin, over skin,
to prevent becoming skinned.
Under boot and toe. For a while. But fawns fast, and warm
hides. Even Selkies leafs, water. And so, Bride groomed. Long
golden, becoming. Father invited, vying. Newly weds, he
thought he knew not. Tying the knot.
Cunning Queen, special meal, underguise, unappetized. Arms
fastened, lack fathom. Ew, hick-ory, trickory! “I’d rather die
than eat such food!”.
7
continued on page 47

ABBEY LAKEY
8

HEATHER PALMER
Quarantine: April 21st
I just spilled boiling hot green tea
with red burns on my wrist
My boyfriend handed me a napkin
And said, here’s an orange to start.
9

10
ESTEN WALKER

ADRIANA LOBEL
11
continued on page 82

CORY PIGEON
12

ROBERT ASHLEY
Dust
Swing, duck. Swing, duck.
Shit. The outside guy is watching. I don’t have it in me.
I am ashamed because of the outside guy.
It’s like ashamed because you are too short.
Or like ashamed because you can’t get a sun tan.
White skin. Sun.
The skin gets red and three days later it’s gone.
White skin. Too short. Bad teeth.
All those things you can’t do anything about.
And my problem is I don’t have it in me.
I get the guy who has finished buttoning up his pants.
He is very calm. He never misses.
Bam. Loose tooth. Bam. The bells are ringing.
I want to be someplace else. I should start running.
But I can’t, because of the outside guy.
Swing, duck. Swing, duck. I can’t touch this guy.
Bam. The bells are ringing.
The outside guy is watching. I will never live this down.
From now on. For the rest of my life.
The outside guy knows. I don’t have it in me.
13
continued on page 75

14
ZUZANNA LEGAN
Słowa Na Wiatr

MAGGIE DELANEY
Reliquary
15

ESTEN WALKER
16

ESTEN WALKER
Appalachian
17

18
SALLIE AYCOCK MARSHALL

MATTHEW FIELDS
Brick by Brick
19

BASAK KILICBEYLI
House
20

ADRIANA LOBEL
Placeholders, i think
21

PLACEHOLDERS, I THINK
22

ADRIANA LOBEL
23

DOLORES BARTHOLOMEW
Planting Dreams
24

SALLIE AYCOCK MARSHALL
Untitled
25

CHRISTINE BELTON
The City Unseen
What does systemic racism look like mapped onto our everyday
lives? It looks like decades of housing, educational, banking/loan,
transportation and employment inequity forced into being by the
Federal government’s decisions about who gets to live in what
neighborhoods.
Read Next City’s article, “How Redlining Segregated Philadelphia”
and explore their interactive map based on the 1935-1940 Home
Owners Loan Corporation Risk Maps. Take some time to
experiment with the redlined map – it allows you to adjust the filters
and view the map with today’s current household income,
brownfield, high school graduation rates, crime and median house
prices.
By using the QR code, you will find photos of an old AAA map of
Philadelphia. I’ve traced the HOLC red lines on the map with a
Sharpie. I’m also traversing my way along the perimeter of the red
lines, documenting the long-term effects of redlining on
neighborhoods. Because banks lend to Black and Latinx –
mortgages and home improvement/equity loans – at a small fraction
of the percentage they lend to White people, neighborhoods go
through a physical decline and often swift gentrification.
In this work in progress, as I physically trace the lines of
demarcation and destiny across Philadelphia, I stop at intersections
along the perimeter. I take a photo and document the intersection,
and place a sticker with a QR code leading to the site where the
photos are housed. I encourage viewers to explore one of the
primary unseen structures that have determined the long-term well
being of many of Philadelphia’s residents at the expense of others.
26

27

28
KRISTEN WONG AND SARAH LESNIKOSKI
#thisaintartschool

NASIR YOUNG
29

ISHA TRIPATHI
30

KOFI PERRY
31

HEATHER PALMER
Funeral
32

ASHLEY JOHNSON
33

CAMERON BUNTING
Sun
34

DOLORES BARTHOLOMEW
Disregards of Science: Drowned
35

YEE LI
Untitled
36

MARY BETH DRABISZCZAK
37

ABBEY LAKEY
Cyclical
38

HEATHER PALMER
Mid-century Modern
39

SARAH BUTLER
40

MATTHEW PRING
41

TAYLOR LARSEN
42

ADRIANA LOBEL
Ferns grow and cotton traps...
43

SARAH LESNIKOSKI
Hackman
Stereo-typed by Design
44

MARIKA HACKMAN
The One
Sold out
I've given up my soul now
I thought that I could be unique
Fuck it I am just so weak
Love me more
I need to be adored
(You're such an attention whore!)
No I'm just like you
But I can be your hero too
I'm not the one you want
I fucked it up with the saddest songs
I'm not the one you want
But leave it on
Leave it on
Bow down
Vanilla and I'm proud now
They're saying I'm a god sent gift
And all you fuckers want my dick
Love me more
Rub me 'til my ego is raw
(That's not what we came here for!)
I've got BDE
I think it's a venereal disease
She likes to have attention
She longs for your affection
She likes to have attention
She longs for your affection
I'm not the one you want
(She likes to have attention
She longs for your affection)
I fucked it up with the saddest songs
(She likes to have attention
She longs for your affection)
I'm not the one you want
(She likes to have attention
She longs for your affection)
But leave it on
Leave it on
I'm not the one you want
I fucked it up with the saddest songs
I'm not the one you want
But leave it on
Leave it on
45

MARLEY PARSONS
One Thing After Another
46

ADRIANA LOBEL
Goose Tales
continued on page 82
47

KRISTY FROM-BROWN
48

CHRISTINE BELTON
Have a Piece of Fruit
49

LOUIS MAZZA
50

ARTI STRUYANSKIY
51

MIKEL ELAM
Orb
52

CLINT JUKKALA
Afterglow
53

KATE MORAN
Rosebud
54

KATE MORAN
Harriet
55

56
SHERRY ROSSINI

PEGGY O’DONNELL
A Lucid Dream
57

58
DORI MILLER

DORI MILLER
59

60
CLINT JUKKALA

CORY PIGEON
61

62
TAYLOR FREEMAN
Pink Favelas

OSKAR KALINOWSKI
Untitled
63

KRISTY FROM-BROWN
64

KRISTY FROM-BROWN
65

66
DANIEL DE BLASIO
The Heart of Havana

TANIA QURASHI
67

68
NICOLE IRENE ANDERSON

HEATHER PALMER
69

DAVERY VEAL
70

DOMINICK MAYS
71

72
CHERISSE ALCANTARA

DAVID DEMPEWOLF
Quivering Surfaces
watch this: https://vimeo.com/488520592
strobe light effects
73

74
TAYLOR FREEMAN
Lost at Sea

ROBERT ASHLEY
It’s Easy
continued on page 78
75

K. MALCOLM RICHARDS
76

K. MALCOLM RICHARDS
Dream Letters
77

IT’S EASY
continued on page 94
78

SARAH LESNIKOSKI
Bile Abide
79

CHARMAINE KOH
Cloud Down
80

KIRSTEN BREHMER
For Protection
81

ADRIANA LOBEL
Cinderella
Cinder, blocks. Fortune, fate. A pretty girl, neath the soot. Clean, sweeps. Winnings, neat. For a bimbo bound. Wealth
ponds. Pool, and damn up. Liquid mold, in a foot hold. Ducked, below. Hits and throws. Looking through. Window, pains.
Looking for. God, Mother!
Ugly, ducking. Under chic, Givenchy. Glass slippers make for slippy flippers. Glass sippers, drink until they’re seen
through.
Clocked, Strike Out! Lucky #7 on the matchbox. Tic tac toes gotta go. Shoes, off! A Mr. right with all wrong answers, is no
Jake Ryan. Girl, forlorn. Marlboro lights, bore on. Flick, switch. Couldn’t find her match. Swipe right.
Knocking on knock-offs handbags, turn doors. Lock and key, don’t ask me. But one last try, it seems the shoe fits. Heel,
girl! Toes follow closely behind. Risk isn’t just a board game, when you’ve got no pocket change. Ankle sores, money
opens doors. They say love heals all wounds.
continued on page 86
82

EXCESS
Measure is only a convention, an intersubjective agreement
which is the condition of merit (social recognizability).
Poetry is the excess which break the limit and escapes
measure. The ambiguousness of poetical words, indeed, may
be defined as semantic overinclusiveness. Like the schizo,
the poet does not respect the conventional limits of the
relation between signifier and the signified, and reveals an
infinitude of the process of meaning-making (signification).
Exactness and compliance are the conditions of merit and
exchange. Excessiveness is the condition of revelation, of
emancipation from established meaning and the disclosure of
an unseen horizon of signification: the possible.
Franco “Bifo” Berardi
It is in the same life; the heart changes, and it is
our worst sorrow; but we know it only through
reading, through our imagination: in reality its
alteration, like that of a certain natural
phenomena, is so gradual that, even if we are able
to distinguish, successively, each of its different
states, we are still spared the actual sensation of
change.
The numbers are made of rubber or something
like that.
Robert Ashley, The Backyard, 1978
83

84
SARAH LESNIKOSKI
Cue the Impossible

PRIVATE LETTERS AND MISSED CONNECTIONS
In this work, at all times, the human spirit is shown
as modified by its relation to force, as swept away, blinded by the very force it imagined it
could handle, as deformed by the weight of the force it submits to. For those dreamers who
considered that force, thanks to progress, would soon be a thing of the past, the Iliad could
appear as an historical document; for others, whose powers of recognition are more acute and
who perceive force, today as yesterday, at the very center of human history, the Iliad is the
purest and loveliest of mirrors.
To define force—it is that x that turns anybody who is subjected to it into a thing:
. . . the horses
Rattled the empty chariots through the files of battle,
Longing for their noble drivers. But they on the ground
Lay, dearer to the vultures than to their wives.
Simone Weil, The Iliad or The Poem of Force
85

86
ADRIANA LOBEL
Goose Tales

MAGGIE DELANEY
Diary Entry
87

LAURA HAWLEY
laura@acuphilly.com
88

ADVICE COLUMN
89

MARCO ROTH
Epilogue for a Way of Life
90

EPILOGUE FOR A WAY OF LIFE
91

MARCO ROTH
92

EPILOGUE FOR A WAY OF LIFE
93

ROBERT ASHLEY
Man, this is what I
came for
I am in touch with the voice
And he’s telling me shit I can’t even understand
I am in touch with the voice
And he’s telling me shit I can’t even understand
I am in heaven, man
Like
There is an end
I think that’s what he said
But shit, man, it’s like ‘eresane’
I can’t even do it
If I could do it, I could do the whole thing
I’m saying shit and this voice is telling me
But I can’t do it
I could have learned everything
I could have learned shit that nobody knows
But I just didn’t have time, you know
And I’m trying to get it all down
Dialoguing, you know what I mean?
I’m saying shit and this voice is telling me I’m
getting the whole fucking message
Stops the whole thing
stops the whole thing
stops the killing
stop all the shit
stop all the shit
Stop it
stop
Stop
it goes by so fast
human doesn’t get it
I can hear it
but it’s too fast
Oh, shit, we are dialoguing
I’m crying
The fucking tears are in my eyes
I’m getting it
The fucking tears are in my eyes
Now, I’m losing it
I’m listening, but I’m losing it
Too fucking fast, but clear and loud
Now, I’m losing it
I’m losing it
I’m losing it
I’m still saying shit and the answer is coming
But I can’t hear it
I lost it
listen: https://www.lafayetteanticipations.com/en/exposition/willholder-alex-waterman-yes-it-edible
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COMPARATIVE FORMS
Like a patient etherized upon a table;
The apparition of these faces in the crowd:
Petals on a wet, black bough.
There’s an implied comparison. Eliot just includes the
“like”, so you don’t miss that.
John Yau
“As the spectator identifies with the main male
protagonist he projects his look onto that of his
like, [his screen surrogate]
so that the power of the male protagonist
[as he controls events] coincides with
the active power [of the erotic look],
both giving a satisfying sense of omnipotence.”
from Visual Pleasure and Narrative Cinema, Laura Mulvey, 1973
Jacques Derrida, Psyche: Inventions of the Other
95

NOTES
6 Graham Cuddy, Spring #2, Acrylic on hand carved wood, 2020
Villanova
7 Adriana Lobel, Goose Tales, poems, 2020
Philadelphia
8 Abbey Lakey, Days, poem, 2020
8 Abbey Lakey, Diary Entry, Time, steel, yarn, 2020
8 Abbey Lakey, Counting, Time, steel, yarn, 2020
Philadelphia
9 Heather Palmer, Quarantine: April 21st, poem, 2020
the wilds of Pennsylvania, mostly Philadelphia
10 Esten Walker, Measuring time with a six foot pole while burning a poem, 2020
Chapel Hill and Newland, NC
11 Adriana Lobel, Story Board of Portraits of friends I don’t remember and Goose Tales, 2020
12 Cory Pigeon, The American Game, oil painting, 5x5.5 ft, 2020
12 Cory Pigeon, Daydreamer, oil painting, 48x48 in., 2020
Philadelphia
13 Robert Ashley, Dust, Opera, 1998
Manhattan
14 Zuzanna Legan, Słowa Na Wiatr, poems, 2020
Warsaw
15 Maggie Delaney, Reliquary, clay, wood, found plants, 14x9x2 in., 2020
Silver Spring, MD
16 Esten Walker, Untitled poem, 2020
17 Esten Walker, Appalachian, jpeg, 2020
18 Sallie Aycock Marshall, Untitled, acrylic on wood, 5x3.5 ft., 2020
18 Sallie Aycock Marshall, Untitled, acrylic on wood, 5x3.5 ft., 2020
18 Sallie Aycock Marshall, Goddess, acrylic on wood, 5x3.5 ft., 2020
Doylestown, PA
19 Matthew Fields, Brick by Brick, 2020
St. Louis, MO
20 Basak Kilicbeyli, recreated childhood drawing, digital, 2020
Philadelphia
21 Adriana Lobel, Placeholders, i think, essay/poetics, 2020
24 Dorlores Bartholomew, Planting Dreams, watercolor, ink, oil pastel, on cold press paper
Wilmington, DE
25 Sallie Aycock Marshall, Untitled
26 Christine Belton, The Unseen City, redline research project
28 Kristen Wong and Sarah Lesnikoski, #thisaintartschool, IG posts, 2020
ANYWHERE, USA
29 Nasir Young, En Route, oil on canvas, 12x12 in., 2020
29 Nasir Young, Return Trip, oil on canvas, 6x6 in., 2020
Philadelphia
30 Isha Tripathi, Through the Darkness, ink on paper, 11x14in, 2020
30 Isha Tripathi, Self Assurance, ink on paper, 11x14in, 2020
30 Isha Tripathi, Entanglement 3, ink on paper, 11x14in, 2020
30 Isha Tripathi, Entanglement 1, ink on paper, 11x14in, 2020
Bay Area
31 Kofi Perry, The Sculptor Installing a Shrine, Graphite on paper, 23x23 in., 2020
32 Heather Palmer, A Funeral, poem, 2020
32 Heather Palmer, Untitled, photograph, 2020
33 Ashley Johnson, Studio Rubric, handwritten note, 8.5x11 in., 2020
33 Ashley Johnson, The Soil Knows Me, oil on paper mounted on panel, 22x30 in. 2020
Bremerton, WA
34 Cameron Bunting, Sun, oil on canvas, 9x12, 2020
Bay Area
35 Dolores Bartholomew, Disregard of Science: Drowned, UV ink on plexiglass, 9x11 in.
36 Yee Li, Untitled, acrylic on wood, 2019
Los Angeles
37 Mary Beth Drabiszczak, Flowers, poem, 2020
37 Mary Beth Drabiszczak, Dandelion, oil on panel, 5x7 in., 2020
Milwaukee, Wisconsin
38 Abbey Lakey, Cyclical, image transfer on handmade paper, 2020
39 Heather Palmer, Mid-century Modern, poem, 2020
40 Sarah Butler, Engulfed, acrylic and charcoal on paper, 16x17in, 2020
40 Sarah Butler, Folkloric Fern, acrylic on paper, 12x12in, 2020
40 Sarah Butler, Garden Variety II, acrylic on paper mounted on high gloss paper, 8.5x11in, 2020
40 Sarah Butler, Garden Variety II, acrylic on paper mounted on high gloss paper, 8.5x11in, 2020
Philadelphia, PA
41 Matthew Pring, Every 100 Years?, digital, 6x9 ft., 2020
41 Matthew Pring, Hopeful in Isolation, digital, 5x6 ft., 2020
Center Valley, PA
42 Taylor Larsen, Spring-Fall 2020, oil on panel, 19x25 in.
Philadelphia
43 Adrian Lobel, Ferns grow and cotton traps..., mixed media drawing (charcoal, acrylic paint) and text
(charcoal, acrylic, conte crayon)
44 Sarah Lesnikoski, Hackman, live art (jpeg), cadmium and lead on glass/ inkjet print, chalk
Wrocław/ Philadelphia
96

NOTES
45 Marika Hackman, The One, lyrics, 2019
UK
46 Marley Parsons, One Thing After Another, secondhand fabric, twine, sticks and turmeric, 8 ft., 2020
Philadelphia
47 Adriana Lobel, Goose Tales, poems, 2020
48 Kristy From-Brown, Accident of Birth, poem
48 Kristy From-Brown, Hairshirt, oil on canvas, 28x28 in.
Huntsville, AL
49 Christine Belton, Have a Piece of Fruit, Dirt, mod lodge, pen on watercolor paper, 22x30 in., 2020
50 Louis Mazza, How to Make a Diptych, digital, 2019
50 Louis Mazza, How to Make a Photo Essay, digital, 2019
Media, PA
51 Arti Struyanskiy, A New Era of Thought 1888-2020, polyester, 300x300x300cm, 2020
51 Arti Struyanskiy, Supermassive Black Hole x2, pencils, relief prints and pastels on suspended canvas,
340x155cm, 2019
Klimovsk, Russia-born, Vancouver-based
52 Mikel Elam, Orb, Mixed media on canvas, 48x36 in., 2019
Philadelphia
53 Clint Jukkala, Afterglow, Oil on paper, 12x9 in., 2019
Philadelphia
54 Kate Moran, Rosebud, rosebud matches, 36 silver prints, open box 1.25x3.75x.50 in., 2020
55 Kate Moran, Harriet, Inkjet print, 8x8 in., 2020
Philadelphia
56 Sherry Rossini, Ethereal Series, wax and text, 2020
Philadelphia
57 Peggy O’Donnell, A Lucid Dream, Assemblage of woods, clay, metal, 33x10x9 in., 2020
Chesapeake Bay, MD
58 Dori Miller, Thesis Excerpt, 2020
58 Dori Miller, Imaginary Flower 80, Ink on archival paper, 9x6 in., 2020
59 Dori Miller, Thesis Excerpt, 2020
59 Dori Miller, Imaginary Flower 60, Ink on archival paper, 9x6 in., 2020
Philadelphia
60 Clint Jukkala, Attention Circuit, Oil on paper, 12x9 in., 2019
60 Clint Jukkala, Disruption, Oil on linen, 40x30 in., 2019
61 Cory Pigeon, Spring Garden Shooting, Oil painting, 3x2 ft., 2020
61 Cory Pigeon, 2020 Sunrise, Mixed media, 5x8 ft., 2020
62 Taylor Freeman, Pink Favelas, Digital model, 1920x1080 px, 2020
Baltimore, MD
63 Oskar Kalinowski, Untitled diptych, Krakow and Lublin, 2020
Philadelphia and in flight
64 Kristy From-Brown, Tears, poem
64 Kristy From-Brown, Save Your Tears for Me and I’ll Put Them Back in Later, paper, encaustic medium,
pipette, glass, 14x12 in.
65 Kristy From-Brown, Savory, poem
65 Kristy From-Brown, Haptic, filtered photograph of graphite drawing, 8x10 in.
66 Daniel DeBlasio, The Heart of Havana, photograph
Earth
67 Tania Qurashi, When I spit a poppy grows there, Oil and acrylic on panel, 11x14 in., 2020
New Jersey
67 Riz Ahmed, Where You From, lyrics
UK
68 Nicole Irene Anderson, The Inevitable, Oil and graphite pencil on paper, 83x52 in., 2019
68 Nicole Irene Anderson, No Ground Beneath Your Feet, Oil and graphite pencil on paper, 83x52 in., 2019
Santa Rosa, CA
69 Heather Palmer, Bird Ranch, poem, 2020
70 Davery Veal, Untitled, Acrylic painting, 2015
71 Dominick Mays, Untitled diptych, jpeg, 2015
72 Cherisse Alcantara, Portals 1, 2, 3, mixed media on paper mounted on panel, 12x9 in., 2020
72 Cherisse Alcantara, Portals 1, 2, 3, oil on canvas, 40x30 in., 2020
Bay Area/ Philadelphia
73 David Dempewolf, Quivering Surfaces, Watercolor animation, 2020
Philadelphia
74 Taylor Freeman, Lost at Sea, Digital model, 1920x1080 px, 2020
75 Robert Ashley, It’s Easy, lyrics from Dust, 1998
76 K. Malcolm Richards, Dream Letters, video stills, 1997
Philadelphia
79 Sarah Lesnikoski, Bile Abide, La Brea tar, oil and turpentine in a pink, glass bottle, 2019
80 Charmaine Koh, Cloud Down, 48x48 in.
Bay Area
81 Kirsten Brehmer, For Protection, jpeg, 2020
Bay Area
82 Adriana Lobel, Goose Tales, poems, 2020
84 Sarah Lesnikoski, Cue the Impossible, Oil on paper, 3x5 in. each, 2020
87 Maggie Delaney, Diary Entry, Embroidery on leaf, ceramic, 10 in., 2020
88 Laura Hawley, PAFALah, Advice column, 2020
Philadelphia
90 Marco Roth, “Epilogue for a Way of Life”, n+1 Journal: Spring 2020
97

Brute Reason is the 1st issue of
an art journal run by students at
Pennsylvania Academy of the
Fine Arts
Edited by
Sarah Lesnikoski
Many thanks to: all the
contributors, artists, authors,
encouragers, and special thanks
to the institutional support of
PAFA
Acknowledgments to the
inspiring sources of journals n+1
and F.R. David, as parts of this
journal are mere mimics of their
incredible work.
Cover art:
Sarah Lesnikoski, Cart/Horse,
digital, 2020
Contributing editors
Christine Belton
Sarah Butler
Sarah Lesnikoski
Adriana Lobel
Dori Miller
Megan Richards
Editorial concept & design
Sarah Lesnikoski
Founding editors
Sarah Lesnikoski
Christine Belton
Managing editor
Sarah Butler
Key writers
Adriana Lobel
Heather Palmer
email:
lesnikoskisa@pobox.pafa.edu
with any queries
98

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01: BRUTE REASON, WINTER 2020
Mark Grief, The Age of the Crisis of Man, 2015
100