This issue precedes the supposed apocalypse and the new millennium bore. Felicia Feaster examines films envisioning the apocalypse in Living in Oblivion Apocalypse Cinema at the End of the Millennium. Feaster designs “an Armageddon timeline” outlining film fixated on the end of the world: from 1910 to 1999. The artists mentioned in the issue come from different periods, but their common obsession with time, and the end of time, represents an ever-present anxiety for the world in 1999. The World War II alien invader films differ greatly from the landscape paintings around the time of World War I by Herman Hesse, whose work is explored by Jerry Cullum in Herman Hesse as Painter and Writer. Contemporary artist David Reed talks about painting “relevant to the present” in his interview with Christian Viveros-Fauné. The issue also includes reviews, including Cullum’s review of the 1999 Atlanta Biennial.
