Published by the Department of English and the School of Humanities and Social Sciences at the College of Charleston, the cover image of Crazyhorse Fall 2017 is "Blue Hole," a digital photograph by Shane Brown.
Annelisa Leinbach's vibrant art is featured on the home screen as well as in a portfolio for the Winter 2017 issue of The Writing Disorder online literary magazine.
"The Cowards" by French photographer Iva Iova on the cover of Into the Void #6 is from her series, The Remains , of which she writes, "The last decade held a concentration of questionable political and social events. [. . . ] A population raised and educated to be Deaf, Cowards and Heartless."
Kikki Ghezzi's oil on linen entitled "Snow Flake" is featured on the cover of Salamander #45 with a full-color portfolio of more of her works inside the issue. She writes, "My paintings are increments of time and increments of marks and strokes in a meditative moment. They are the time of a walk, the time of process. The kind of 'glow”' time in my paintings is infinite in both directions, outward in accumulated, immeasurable brush strokes and inward towards a glow point."
Oil on canvas "21 August 2017" by Lynn Boggess invites readers into the December issue One online poetry magazine, which features a "Second Look" section in which writers discuss poems they admire. This issue's Second Look is Patrick Kavanagh discussing The Great Hunger.
One of the cover images, "Lotus Buddha" by Christine DeCamp, for the online publication Leaping Clear is reflective of its mission, to promote "accomplished artists whose work is informed by dedicated meditative and contemplative practices." There is more from DeCamp and other visual artists and writers in the Fall 2017 issue.
The cover image of the fall 2017 issue of River Teeth: A Journal of Nonfiction Narrative is a gorgeous waterfall photo from White Mountains, N.H. by David FitzSimmons.
Tim L. Vasquez of Untamed Photography offers a seemingly surreal image for the cover of the fall/winter 2017 Concho River Review.
It's hard to get the full effect of the Fall 2017 The Georgia Review cover art, which features work by poet and photographer Rachel Eliza Griffiths printed on mirror metallic stock. A portfolio of her work and essay, "What Has Changed," is included in the issue, with an introduction by Jenny Gropp.
An untitled enamel on plywood by Mose " Mose T" Tolliver attracts readers to the Fall 2017 issue of Field: Contemporary Poetry and Poetics.
Love love love Mary Jo Karimnia's work, which she describes in her Artist's Statement, "I draw in the backgrounds and enhance certain areas with glass beads. Cropped purposefully to omit faces, the images - such as teenagers in costumes at cosplay conventions, dancers in Bolivia, and Catrina icons at a Day of the Dead festival - emphasize how costumes can allow us to explore alternative personae in an anonymous way, which helps us to learn about our past or to imagine a future in which the acceptance of eccentricities is the norm." The Cincinnati Review Winter 2018 includes her work on the cover as well as a portfolio inside.
Billy Renkl's "Watching the Sky #2" collage of antique British chromoolithographs is the cover art for v32 n2 of Zone 3 literary journal. Renkl says of his work, "Vintage and antique paper can be surprisingly beautiful, and I find the way that it carries its history with it moving."
Photographs by street photographer J. Ray Paradiso are featured on the cover screen for the online Foliate Oak Literary Magazine.
Catherine Heard's work can be found on the cover of Hamilton Arts & Letters Magazine 10.1 as well as featured in an online portfolio. Her work "work interrogates the histories of science, medicine and the museum. Simultaneously attractive and repulsive, her works delve into primal anxieties about the body."
Halloween, detail by Bo Bartlett, is seasonally appropriate for the Autumn 2017 cover of The Gettysburg Review. More of Bartlett's work is also featured in a full-color portfolio inside the publication.
"Finding Home: Family & Connections" is the theme of Bellvue Literary Review's Fall 2017 issue, with cover art and internal portfolio by father and son Paul and John Paul Caponigro.
The Massachusetts Review "back-to-school" fall 2017 issue features "He Who Is as if Death Were Not," an archival pigment print on German etching paper from Ayana V Jackson's series To Kill or Allow to Live in the issue.
"The Spaces Between" by Laura Berger is featured on the cover of the online issue of Fugue (52). Managed and edited by graduate students in the English and Creative Writing Programs at University of Idaho, Fugue features poetry, plays, fiction, essays, visual-text hybrids, and interviews.
Do I pick EVERY Kenyon Review cover? Maybe, but when covers make me laugh or do a double take, that's worth sharing. The artist is Milan, Italy-based Emiliano Ponzi.
Thread is an online "intersectional feminist arts collective" publishing visual art, poetry, prose and creative nonfiction bimonthly.
The work of artist and activist John Sproul is featured on the cover of Superstition Review #19.
Sandy Skoglund's "Fox Games" is the perfect image for The Missouri Review Summer 2017 theme "Mischief Makers."
I'm not sure if the cover images "Remote Lighthouse" by David Mark / "Delta Flyers" by Barry Jones was intentional - with the black and white lighthouse - given the special art feature in this Summer 2017 issue of Able Muse: A Zebra Theme - a photographic exhibit of zebra imagery from artists worldwide.