17 years later, Sally Potter revisits her conversation with BOMB about her film interpretation of Virginia Woolf’s Orlando. Recently re-released by Sony Pictures Classics, the gender-bending film’s timeless themes take on a new meaning with each viewing. Sally Potter looks back at the making of the film and the ways in which filmmaking is different today.
Lars Elling reconsiders Artaud giving us theater and its double, painting. True to painting, he reels the viewer in; true to theater, he creates a scene to unfold and hemorrhage. Watch a virtual gallery walkthrough of his show Fictions at Nicholas Robinson Gallery.
From the archives and across state lines, BOMB on the Scene hopped on New Jersey Transit to visit Paul Henry Ramirez. Since painter Roberto Juarez’s 2007 essay on his work for BOMB’s 25th Anniversary America’s issue, Paul Henry Ramirez has relocated his studio to Hamilton, New Jersey from Greenpoint, Brooklyn.
Take Robert Greene’s bucolic fields populated with pals, poodles, and picnic fare suddenly cleared to monochromatic fields of texture.
Keyboard-to-keyboard and back-to-back, Thomas Bartlett and Nico Muhly shared an island of two piano benches swaying out compositions as one musician.
Alexandra Kleiman’s Digital Flux opens Saturday, July 31 at 7 Dunham Place #4N in Williamsburg. The independent curator discusses her active curation and everybody’s favorite topic Facebook.
DOLK has gone from painting on the sides of abandoned houses in the Norwegian countryside to stenciling on buildings near high-traffic Williamsburg locales. Richard J. Goldstein caught up with him in the backyard of the Brooklynite Gallery in Bed-Stuy.
If there is an edge to painting, has anyone ever jumped off? Klein jumped, or so staged it. He is the point of departure for Joyce Kim’s most recent body of work.
Carolee Thea happens to have been both installation artist and curator in her ever-evolving career as an artist, historian, curator, and writer. Now, she’s asking the questions of some of the most dynamic names in curating with her d.a.p release On Curating // Interviews with Ten International Curators , a follow-up to her foci // Interviews with Ten International Curators .
Morgan O’Hara’s LIVE TRANSMISSION drawings—part object, part performance—catalog movement. It was only natural that she undergo her latest performative drawings at The LAB gallery in Midtown. Morgan O’Hara used the repurosed storefront as a stage, with a black-and-white backdrop of a blown-up 2001 drawing, collaborating with six musicians over a week’s time. Richard J. Goldstein talks to O’Hara and alt-classical musician Peter Gregson.
From her ‘70s publication Radical Software, to her own studio practice, Beryl Korot pushes the line between technology and communication. Watch a video of her work and listen to a podcast of an artist’s talk she gave at the Aldrich Museum.
BOMB’s Richard J. Goldstein talks generational differences, scale, and what it means to be a New York Artist with Greater New York artists Sam Moyer and Franklin Evans in this cyber-roundtable discussion.
Halloween always seems to start with the question, Who should I be? rather than, Who am I? After speaking with Marnie Weber, it was apparent that some of our biggest fears are of exposing the self. The masks we create in defense being all the more terrifying than what is within. For close to 30 years, Marnie Weber has centered her practice on looking inside for the characters and stories to enact. Her honesty about the sentimentality and romance at the root of her work fearlessly sets it apart.
Her latest project, Eternity Forever, incorporates film, installation, collage, and performance—including the death of one band and the birth of another. Set in Los Angeles’ Altadena Cemetery, this sixth installment of West of Rome’s Women in the City program, Weber reaches a new scale for her work giving life to her vision of a feminine brand of horror.
Driven by collaboration, combining old and new methods, and a unique symbolism, Deborah Gans speaks to Richard J. Goldstein about the rose window she and Kiki Smith designed for the landmark Eldridge Street Synagogue.
Just six weeks left to go on the archive’s timeBOMB! Check out another hyperlinked collage and find out the latest past interviews we’ve posted!
PODCAST In his latest collaborative dance piece In I, Akram Khan invites actress Juliette Binoche to dance out a highly charged romance against a pared down domestic theater set by Anish Kapoor.
Bringing new meaning to “pop-up,” the archive takes to the streets…
A play on the Surrealist game, where the BOMB staff arranges an assortment of our exquisite archives.
On a summer night last July BOMBlog contributor Richard Goldstein came across something out of the ordinary in a Chelsea gallery, among Bill Beckley’s photographs was experimental folk musician Sam Amidon. Intrigued, Goldstein picked Amidon’s brain about free-jazz, the history of American folk music, and the skills you can pick up on a beach in Nova Scotia.
There is a direct and felt transaction between the hand and the eye. It is for this reason that writing on Philippe Grandrieux’s Un lac cannot be typed, but must be done by hand.
Winter 1998 Issue #62 at a yearly subscription of $18.00/year, BOMB Magazine introduced a smaller format and switched from saddle stitched binding: the soft-folded stapled kind, to perfect binding: the boxed and glued kind.
Nancy Spero’s 1976 Torture of Women confronts the viewer with what appear to be receipts of violence carried out on women…34 years later Siglio Press chronicles her epic work.
Deana Lawson’s photographs are steeped in her community. And just last week she brought the work back to Bed-Stuy in a talk at Brownstone Books. She spoke about work featured in her recently published catalogue Corporeal. Rooted by questions of the family album she investigates the phenomenon of the arresting beauty of the framed moment. Without sentiment, Lawson pushes on and into the lives of her subjects in which dialogue on representation’s process unfolds.
Can we get a movie experience that is not double dipped in CGI and blown out to IMAX proportions? For a cinematic barrage of another kind you should check out Nobuhiko Obayashi’s directorial film debut Hausu (House). It’s showing now at IFC through January 26th on a fresh bit of 35mm released by Janus Films. Originally released in 1977, this film is deliciously au courant in its mix of lo-fi complexity found at the core of so much art making today.
Beneath the dense network of tags and links, there is a particular order at the root of the BOMB archive, and any archive for that matter. The text files and image files to be loaded are all named according to their physical place in the magazine.
When the articles themselves begin relating to their interiority, they collectively build an intraview, a reflexive look. Following is a hyper-linked collage to the latest archived interviews presented as a mock-up of the intraview.
Through his hip hop baroque style, Rashaad Newsome exposes how language is shared between cultures and across time. At the core of this, he articulates the relationship between gesture and language as an issue of abstracted identity in conversation with Richard Goldstein.