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American landscape painter Mary Sipp Green, based in the bucolic Berkshire Hills of Massachusetts, has a superlative ability to engage the viewer in the emotive atmosphere of her landscapes and seascapes. The intensely saturated colors in her works evoke an immediate sense of place and a unique perspective on an intimate tableau. Sipp Green achieves an ethereal, nuanced quality in her paintings that imparts a refined and inimitable serenity. In Every Hour of the Light: The Paintings of mary Sipp Green, many of the subjects she paints—salt marshes, barns, meadows, rivers, and the occasional cityscape—are captured in the exquisite twilight of early evenings or a luminescent sunrise. The effect is dreamy yet grounded and familiar.

Sipp Green states, "While my preferred medium has always been oil on linen, my methods, techniques, and aesthetic aims have all undergone significant transformations since I first began. I learned my craft in the studio, painting still lifes and portraits, as well as landscapes drawn directly from nature. Over time, I became increasingly engaged with more abstract and spiritual aspects of the landscape form and I began to pursue a less representational, more expressive style." When describing her "diffuse quality of color," she explains, "I use many layers of paint, allowing each to dry before the next is applied. Along the way, the surface of the paint is often refigured in unpredictable ways, and there is much that has to be scraped, sanded, destroyed and reapplied before the essence of a place, its mood and atmosphere, finally emerges onto the canvas."

Evoking Newark is a systematic photographic documentation of Newark, NJ, from 1977-2024. This project creates a flexible framework for tracing Newark’s evolution. In this ambitious volume, award-winning photographer Camilo José Vergara creates an indelible record of the city, beginning along its most important commercial thoroughfares, such as Broad, Market, Springfield Ave., Clinton Ave., Central Ave., and MLK Jr. Blvd. He also takes a closer look at landmarks as well as more modest buildings whose folksy character caught his eye. As an urban documentary photographer, Vergara frequently returned to re-photograph Newark in order to track changes over time. For almost fifty years, he identified multiple street intersections that were particularly revealing settings for charting developments in the city.
 
Vergara examines in particular the slow renewal of these main thoroughfares, the demolition of high-rise housing projects, the ruination and clearing of industrial sites, the building of multi-family houses in once-vacant lots, and the construction of skyscrapers and cultural institutions. To complete the project, he added photos of graffiti and murals that comment on local and national events celebrating African American and Hispanic heroes and heroines and memorials remembering the dead. With these efforts at careful documentation, Brick City demonstrates the usefulness of a time-based documentary approach to the study of post-industrial urban areas. The photographs are accompanied by detailed captions about the locations portrayed, and in many cases by Vergara's own observations and transcripts of his interviews with local people as well as overheard conversations. The photos and captions are one way of telling us that “this happened,” and a means of refreshing the memories of viewers who have experienced Newark generations ago--recollections that contribute to their sense of identity.