In Sanctuary, Crewdson’s newest series, the artist leaves behind his cinematic, large-scale technique for a more minimal, realist view. The BOMB crew headed to Great Barrington to talk to Crewdson about this departure.
Through his hip hop baroque style, Rashaad Newsome exposes how language is shared between cultures and across time. He articulates the relationship between gesture and language as an issue of abstracted identity in conversation with Richard Goldstein.
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.
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.
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).
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.
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.
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.
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.
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.
A play on the Surrealist game, where the BOMB staff arranges an assortment of our exquisite archives.
Bringing new meaning to “pop-up,” the archive takes to the streets…
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.
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!
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.
Marnie Weber haunts the grounds of the Altadena Cemetery in her latest film/installation/performance project. Eternity Forever marks the death of her band The Spirit Girls and the birth of a new one, Fäuxmish.
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.
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.
Morgan O’Hara’s LIVE TRANSMISSION drawings—part object, part performance—catalog movement. Richard J. Goldstein talks to O’Hara and alt-classical musician Peter Gregson.
Carolee Thea happens to have been both installation artist and curator. 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.
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.
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.
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.
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.
Take Robert Greene’s bucolic fields populated with pals, poodles, and picnic fare suddenly cleared to monochromatic fields of texture…
From the archives and across state lines, BOMB on the Scene hopped on New Jersey Transit to visit Paul Henry Ramirez.
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.
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.