By Alice Gage
Picture of a draft sketch that Simon emailed me for the series ‘Postcards From Perth’ to accompany ‘Perth, Australia’ by Julian Hewitt (issue 3, The Fade, Spring 2010)
I thought, given Simon’s momentous achievement last week, that it was a good time to put on a bit of a digital retrospective of the incredible work he has done for Ampersand since 2008 – his work appears in every issue but number 5.
Simon is Ampersand’s resident illustrator. He and I have been friends since we met at Sydney University in 2001.
We’re thrilled to congratulate Ampersand resident illustrator Simon Greiner for winning the 2013 New Yorker’s Eustace Tilley contest – his hilarious artwork will be featured on the cover of next week’s bumper issue. Just to be clear, I said THE NEW YORKER COVER.
Of course you’ll be able to see Simon’s work in the next issue of Ampersand, also.
We are still here! Thank you for being so patient. 2012 was a busy year and we’re almost finished putting together a new issue, number 6, ‘Love’. It’s a real cracker. When it lands in March you can expect to see the words and pictures of:
Laura Jean McKay
Emily Hunt and Raquel Welsh
Amanda Van Gils
We’re very excited and proud of the issue and can’t wait to see it in the flesh.
Stay tuned for launch and release dates!
The Zen Machine
by Dominik Krupinski
Click here for full feature
“At the end of six weeks of active stimulation, the results were striking. Around half of the recipients of active tDCS showed a ‘clinically significant result’ – a significant reduction of previously untreatable depression.
But the trial uncovered something else: volunteers were getting smarter.”
New in Feature Articles, some long weekend reading: ‘The Portraiture of Loss’ by Dr Suzannah Biernoff from Issue 2 – Janus Faces.
This essay discusses plastic surgery pioneer and artist Henry Tonks during the time of his groundbreaking work during World War I at St Mary’s Hospital, Kent.
Contains disturbing images.
Henry Tonks, 'Portrait of wounded soldier after surgery', Deeks case file, 1916-1917, pastel. Courtesy of the Royal College of Surgeons of England and the Gilles Archives.
[Excerpt] “There was no ethics committee to debate the legitimacy and uses of Tonks’ work with Gillies’ team, and the patients were not party to discussions about the exhibition, or potential propaganda value, of their wounded faces. Tonks himself thought the pastels ‘rather dreadful subjects for the public view’ and discouraged the interest of officials in the government’s propaganda unit at Wellington House. We don’t know how the men felt about being drawn. We do not even know if they saw their own portraits; mirrors were prohibited in Gillies’ ward at Aldershot, although this didn’t prevent one corporal in the care of Nurse Catherine Black from getting hold of one: having seen his face he asked for a pen and paper so that he could write to his sweetheart, Molly. ‘You’re well enough to see her now,’ Catherine Black remembers saying, ‘Why not let her come down?’ ‘She will never come now,’ he said quietly …”
Read the full article here.
The couple (courtesy of Jeff Horsager)
“So it is a lover who speaks and who says …”
Ampersand is broaching the world and all, in the next issue.
We are looking for essays, columns, short fiction, poetry and art about love in all its majestic, horrible glory.
Deadline for drafts June 14.
Check out submission guidelines here.