Carrier Pigeon #8 Volume 2 Issue 4
Carrier Pigeon #8 Volume 2 Issue 4
Each copy of Carrier Pigeon Vol. II issue 4 includes a unique die-cut design, which opens to an original etching by Bruce Waldman, for a total edition of 1,000. The back cover of the issue folds out to a sound sculpture by Chris Dunnett from the artist’s ongoing series “Transmutation,” and inside the issue is a four-color letterpress work, "Death Letter," with six hand stamps, by Phil Sanders.
The artist-run publishers of Carrier Pigeon are pleased to announce the release of the fourth issue of Volume II, which continues to merge the new, the fantastical, the personal, and the disturbing within contemporary fiction, fine art, illustration and design, combining new and established voices from each discipline for a growing audience of independent press fans.
Each copy of the magazine, limited to a retail edition of just 1,000, represents an original collectable unto itself. As with the previous issues, the content comprises six short works of fully illustrated fiction and six international artist portfolios.
This issue includes fiction pieces by four first-time contributors and illustrations by three first-time contributors.
Young Heller’s painted illustrations bring out the frantic and feverish tones of Dennis Must’s“Typewriter.” In the dark ramble “Apotemnophilia”Julie Pinsonneault tells a coming-of-age story bound up in the fleeting sanity of a young man living in a psychiatric ward, delicately complemented by the artwork of Keren Katz. “Chronophobia,” a collection by contemporary poet Ronald Donn, guides us through the hilariously dark passageways of the subconscious, accompanied by printmaker Rie Hasegawa’s complex vignettes. Nick Kolakowski’s“They Go Boom” is a tale of two unlikely but effective collaborators’ plot to cause havoc at home. Kirsten Flaherty takes them seriously with her exquisite graphite drawings. Rachel Pontious takes as inspiration Allegra Frazier’s “Dora,” which chronicles a family’s physical distress from the perspective of a young girl, and focuses in on the small but vivid details of life. Lastly, “Space Needle” is veteran contributorRyam Scamehorn’s wildest science fiction short story to date, and is fitted with Kristy Caldwell’s ambient and active brush-work.
The first of this issue’s fine-art portfolios is a collection by Chicago-based intaglio artist Michael Goro, who shares a strong collection of his dark, erotic and at times surrealistic prints. John S. Hancock also plays with not-so-subtle sexual tensions in his provocative lithographs, woodcuts and screen-prints. Jason Jägel’s portfolio of gouache works contains worlds: sophisticated subliminal abstract landscapes, “cheeky” responses and happily jumbled process paintings. Artist-printmaker Moira McCaul sends up a menagerie of gorgeously colorful, and uniquely personal, monotypes of birds. Lucas Almeida shares a set of etchings and photographs of his enormous public acrylic paintings, with roots in early human art. And finally, virtuoso Swoon provides an array of her large-format multimedia portraits, showing a range that includes linocut, screen-printing, hand painting and cut paper.
Volume II issue 3 of Carrier Pigeon magazine is full-color, 10”x13” and totals 128 pages. The cover is printed on 240g Monte Blanc paper, and the interior pages are printed on Rendezvous 106g paper. The issue designer is Gregory Skiano, a recent graduate of Cooper Union in New York.