BOMB 124/Summer 2013
Oil on canvas painting, titled The Commands of Desire, by Shirley Kaneda. This article is only available in print.
Shirley Kaneda talks to fellow painter Mira Schor about incorporating feminist agenda in her work without “wallowing in victimization”.
Painter Shirley Jaffe started out under the influence of Abstract Expressionism and made a radical move in the 1960s toward a geometric vocabulary, yet her work defies categorization. Jaffe talks with Shirley Kaneda about what drives her work.
The Frances Dittmer Series on Contemporary Art. For over 30 years painter Robert Mangold has used a simple, primary vocabulary to explore a range of visual, aesthetic and physical relationships in an eloquent testament to the legacy of abstraction.
Jonathan Lasker’s paintings explore the dilemma of being a contemporary abstract painter. His 1989 paintings discussed in this article generate questions about the conscious and unconscious mind at work.
Painter Valerie Jaudon positions her work between fine and decorative arts reconciling modernist and post-structuralist polemics with ease through open ended methods and interrogations that take on a uniquely seductive and feminine point of view.
The Argentinean born painter, Fabian Marcaccio, works outside the traditional categories of painting. He is guided by his own constantly changing logic and transcultural experiences.
Quotation, appropriation, pastiche: painters Fiona Rae and Shirley Kaneda discuss the terms of painting and its ability to redefine those terms alchemically with each act.
The Brazilian sculptor on the notion of taste, the concept of kitsch, and the rejection of traditionalism, with artist Shirley Kaneda.
Shirley Kaneda talks to painter Philip Taaffe about his “unorthodox approach to painting”—his references and recalling of collage, cutouts, decoration and opticality and their synthesized, ambiguous results.
WEB EXCLUSIVE Sculptor Rona Pondick on bodily fragmentation and the manipulation of the museum at her Worcester Art Museum exhibition.
German artist Von Heyl’s puzzling paintings rely on what she calls “cringe factor.” Fellow abstract painter Kaneda uncovers the unstable tendencies and surprising juxtapositions at the core of Von Heyl’s work.
This First Proof contains artwork by James Siena and Shirley Kaneda’s reflections on it. For copyright reasons this content is available in print only.
