- [Header]: Painel Escultórico (1968/1969) – Artur Rosa (1926)
- [Front Cover]: Encontro, Jose de Almada Negreiros
- [Secondhand Story]: Pedro Ribeiro Simões, Water Composition, Parque das Nações, Lisbon, Portugal
- [The Great Forgetting]: Reading Orpheu 2 (1954) – José de Almada Negreiros
- [Wings and Sand]: “Começar”( Beginning) Panel (1968) – José de Almada Negreiros
- [The Only Lonely Road]: Untitled (1948) – José de Almada Negreiros
- [Even and Odd]: Pedro Ribeiro Simões, Rolls-Royce – Spirit of Ecstasy, Belém, Lisbon, Portugal
- [Leaving Ajawan]: Cartoon for tapestry Portugal (Tapestry exhibited at the Comptoir Suisse, Lausanne Fair) (1957) – José de Almada Negreiros
- [Ghost Town]: Pedro Ribeiro Simões, Light’s set, Casa de Serralves, Oporto, Portugal
- [Call of the Mild]: The tragedy of “Dona Ajada” – III – The Wedding morning – José de Almada Negreiros
- [Excommunication]: Pedro Ribeiro Simões, Glass, Cascais, Portugal
- [虚]:Emigrants Departing (1946-1949) – José de Almada Negreiros
- [Duke’s Dioxide Sunset]: Study for the Tapestry “The Number of the Court of Audit (1956) – José de Almada Negreiros
- [Immortal Miscarriage]: [Angel] Untitled (Undated) – José de Almada Negreiros
- [The Trigger Does Nothing But Give]: Eros and Psique (1949) – José de Almada Negreiros
- [Diligent Gardener]: Portrait of Fernando Pessoa (1964) – José de Almada Negreiros
- [Swan Song]: Pedro Ribeiro Simões, “Santa Justa” Lift, Chiado, Lisbon, Portugal
All of the photography in this issue not attributed elsewhere is the work of Pedro Ribeiro Simões, a photographer and economist native to Viseu, Portugal. His tireless efforts digitally cataloguing the works of numerous Portuguese artists (especially José de Almada Negreiros) have brought out a Luso-American artistic exchange without which this issue would not be possible. His original photography mirrors his passion for the works of his predecessors, and the staff of Obra / Artifact offers our deepest gratitude for the opportunity to use a small portion of his exquisite work in our publication. All of his photographs shown in this issue were sourced under Creative Commons 2.0.
- [Red Fire Monkey, Shannon Connor Winward]: Desmond Herzfelder, “Coin Collector”
- [We Bury The Hearts, Dom Fonce]: Andréa Acker, “Polyphemus and Friends 12”
- [Seventeen, Ana Prundaru]: Andréa Acker, “Polyphemus and Friends 2”
- [War Zone, Ana Prundaru]: Andréa Acker, “Polyphemus and Friends 5”
- [5 Poems, Margarita Serafimova]: Megan Larmie, “Time Spent With You, Rust and Rain, Nautilus, Actions, Evaporate” (Acrylic on Wood)
- [Lady Wild Cow Drinks Some Wine, Mary Buchinger]: Ashley Owens, “Dancing in Purple”
- [Some Poets are Trying to Find Marco Rubio, Ryan Rivas]: Desmond Herzfelder, “Ozymandias”
- [How Eve Got It, Tracie Morris]: Jennie Macdonald, “Inspire”
- [Poem in Two Voices : Poema en Dos Voces, Emily Strauss]: Jennie Macdonald, “Madea”
[ART ATTRIBUTIONS: ISSUE 3]: Desmond Herzfelder- “Midnight Prayers Antafede Antioquia”
Desmond Herzfelder is a joint U.S.-Colombian citizen who likes to do artworks that show both the similarities and differences between the two countries. The first three titles above are approximately 20″ x 24″ acrylic paintings on colored paper, with images of urban myth, like the young man collecting coins thrown by tourists in a fountain in Santa Fe, Colombia; the fourth title, in pencil and pastel on paper, is based on Shelley’s poem about the ruined statue of an ancient tyrant. Last year Desmond’s self-portrait done with exacto knife and scratch paper won third prize in the juried competition at the South Shore Art Festival in Cohasset, Massachusetts.
Andréa Acker is a visual artist from Rio de Janeiro, Brazil.
Her series “Polyphemus and Friends” started in Summer 2016 in the Mediterranean, and pays homage to Homer’s Odyssey. Greek mythology has always influenced her reality, making her dream.
-Megan Larmie received her Bachelor of Fine Arts from the University of Florida’s School of Art and Art History. Larmie’s work has been exhibited in Florida, Colorado, and Washington D.C. She lives in Colorado Springs, Colorado. Her series, The Maybe Pearl, is based on John Steinbeck’s novella, The Pearl. She was stuck by a passage at the beginning, in which the two main characters, a couple named Kino and Juana, are desperately catching and searching oysters. Kino and Juana search for an oyster with a pearl inside in order to pay a doctor to treat their sick child. In the novella, there is a reoccurring theme of ‘the Song of the Pearl That Might Be,’ a repeated refrain about the possibility of any shell to contain a pearl. Any shell could hold the pearl to save their child. Using this notion of the ‘Pearl That Might Be,’ Megan began expanding and exploring the concept of potential; the potential within a person, a moment, or an action, the potential to be a force for good or bad, or something much more complex, the potential in simple materials like circles of wood and varnish and paint. She believes there is a history within the layered mark-making and ‘pulls’ of paint, the search for potential within each pearl-shaped piece.
Ashley Parker Owens is a writer, poet, and artist living in Richmond, Kentucky.
Jennie MacDonald is an author, playwright, and photographer living in Denver, Colorado. Her photograph “Breathless” was a recent finalist in the London Photo Festival; other images can be seen at National Geographic’s Your Shot website. Her literary work has appeared in NonBinary Review, Dante’s Heart, and Finery, among others. She received her Ph.D. in Literary Studies at the University of Denver and publishes on 18th and 19th century literature, theatre, and paratextual theory.