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Paintings

by Don Fenestre-Marek

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This collection of paintings by Don Fenestre-Marek was originally the featured artwork for the online Prizewinner Issue—October 2015. They inspired the art on the Prize Winners Page.

Artist’s Statement:

Over the past three decades, Don has worked in a variety of art media.  He considers painting to have the broadest vocabulary for articulating the intersection of practical existence and spiritual inquiry.  “For Marcel Duchamp everything, including art, could be reflected on in the course of what happens on a chess board; for me the canvas is the chess board.  If I can imagine a way to get it onto the painting surface, I can see how it fits into broad and complex systems.”

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Air

Photographs by Evie Lovett

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These photographs from the series “Air” were featured in Hunger Mountain Issue 19: The Body Issue.Nike Sneakers Store | Nike Air Max 270

Collage & Mixed Media

by Matt Monk

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Editor’s Note: Matt Monk’s design work was originally the featured art for the Prizewinner Issue—December 2014. In can now be seen in the Creative Nonfiction section.

“In my collage and mixed-media work, I explore systems, typography, and narrative through experimental methods involving an expansive range of accretive and erosive processes including painting, gluing, scraping, sanding, tearing, erasing, patching, correcting. The images shown here in Hunger Mountain are details of several typographic collages made over the past decade.” —Matt Monk

art as a gorged star: eight erasure poems

by Tyler Friend

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These are erasures of a book published by MOMA, which features transcribed versions of three lectures given in the 50’s and early 60’s: Art as the Measure of Man by George D. Stoddard, Art as Education by Irwin Edman, and Art: A Personal Vision by Bruno Bettelheim.

Through the erasures, the text is refocused onto the mystical and spiritual nature of art, working against the way these men tried to define and explain art in mathematical, economic, and social terms.

Another preoccupation is the way art and the artist are gendered within the lectures — almost always the singular, masculine he. The erasures play with the plurality of art, of collaboration, and move away from the patriarchal undertones of it all.



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