BOMB 110/Winter 2010
ON NEWSSTANDS NOW
ON NEWSSTANDS NOW
WEB EXCLUSIVE Amanda Ross-Ho’s sculptures interweave handcrafted family artifacts with generic, mass-produced objects in an attempt to “reclaim nostalgia as a viable language.” She and Elad Lassry discuss how her bohemian upbringing shapes her work.
WEB EXCLUSIVE Travel writing is a known genre, but travel painting? Mike Glier and Roberto Juarez walk through Glier’s current exhibition of landscape paintings made in Ecuador, the Canadian Arctic, New York & St. John—a global line of longitude.
WEB EXCLUSIVE The Venezuelan artist who once replicated her apartment in a Caracas museum revisits key performances, discussing her personal measurement unit (the anto) and the fauna she researches in her apartment.
WEB EXCLUSIVE Photographer Mitch Epstein divulges what inspired his latest book, American Power—photos highlighting the American addiction to energy production and consumption.
WEB EXCLUSIVE Sculptor Rona Pondick on bodily fragmentation and the manipulation of the museum at her Worcester Art Museum exhibition.
WEB EXCLUSIVE Quinlan’s photographs picture—literally—smoke and mirrors; Beshty makes photos without a camera. They meet on a New York Chinatown rooftop to discuss their work.
WEB-EXCLUSIVE Painter Trevor Winkfield and writer Maggie Paley meet at Winkfield’s studio to discuss Winkfield’s graphic, disquieting, and bizarrely ceremonial paintings.
Currently featured in the 2010 Whitney Biennial, in this 2008 interview artist Josephine Meckseper discussed her MoMA installation and the roles of nostalgia and romanticism play in political dissent.
BOMB 104 SNEAK PREVIEW! Filmmaker and installation artist Catherine Sullivan and choreographer Meg Stuart speak of mining the history of the avant-garde tradition and emotional overflow in ensemble-based work.
As part of their “True Mirror” project for the 2008 Whitney Biennial, Dexter Sinister has set up a mirror press office at the Commander’s Room of the 7th Regiment Armory. Visit them in person and read about them here!
Artist Cruz-Diez has lived in Caracas, Barcelona, and Paris. His interview is excerpted from Brodsky’s extensive oral histories with the seminal experimenter whose work developed a participatory phenomenology of color.
Dulce Gómez makes assemblages and installations that synthesize calculation and chance. Castillo Zapata queries the artist on systems, psychoanalysis, and Benjamin’s essay on Baudelaire.
Caro believes his most important work to be Homage to Manuel Quintín Lame, a performance in which he retrieves the indigenous hero from oblivion. Caro and Rodríguez delve into Warhol, astronomy, and national politicking to find out why.
An unseen tap dancer whose reverberating steps haunt an empty gallery, Beethoven’s “Ode to Joy,” a whistleblower atop a hippo made of mud: Allora & Calzadilla on the politics of site and sound, plus a video.
Known for his tilting, anthropomorphic sculptures and psychologically dense archetypical floor pieces, Shapiro speaks of Indian art as a lived experience and his overriding search for its forms.
The peripatetic conceptualist (Where’s Al?) talks with artist Cheryl Donegan about Ginsberg’s Howl, the reanimated past, and the overlooked poetry of authorless signage.
Carrie Mae Weems has a muse, an avatar, an alter-ego. Photographer Dawoud Bey and Weems discuss how her guide—this stand-in for history—bears witness to race, class, and migration.
Dodge and Kahn’s comedy takes the form of high art in lowbrow drag with mythic accoutrements, fringe weirdos, and activist slants. They talked (off- camera) with fellow performer Michael Smith about charged fragility and being abducted by the moment.
On Thursday 2/25 Joe Bradley is opening a two-person show with fellow painter Chris Martin at Mitchell-Innes & Nash. Read on for an interview from summer 2009 by artist (and Joe’s former teacher) Dike Blair.
In her hometown of New Orleans, Humphries created silver and ghost paintings in an auto garage for the Prospect.1 Biennial. The artists on the beckoning mutability of Humphries’ paintings.
Paine and the architectural team discusses Maelstrom, the most recent of iconic stainless-steel tree installations, as well as his highly personal take on organic forms and machine-made art.
Bartos photographs spaces redolent with a dearth of human presence. His is an architectural eye that reveals, as Homes states, “history passing, when culture is fading, when time has stopped.”
This First Proof cover features drawings by Vicente Grondona. Get your copy of BOMB today.
In Chile and beyond, Guilisasti is known as both artist and co-founder of INCUBO. A proponent of the precarious, her recent work links Judd’s structures in Marfa to the Chilean phenomenon of short-term yet recurring summer beach squats.
Painter Guillermo Kuitca has shown his work the world over, but his practice is deeply embedded in Buenos Aires. He speaks with artist Mathias Duville about provocation, his winter of discontent, and a nomadism of the mind.
Buenos Aires–based visual artist Jorge Macchi’s experimentation with theatrical forms, music, and fiction feed the ephemeral and accidental substance of his artworks. He was interviewed by composer and frequent collaborator Edgardo Rudnitzky.
Artists Nayland Blake and Rachel Harrison on art notions under threat of extinction in the 21st century: self-expression, art not for reproduction, and being engaged in the here and now.
Through their loaded neon signs, lock picks, and bricks wrapped in book covers, the art duo Claire Fontaine prompt viewers to ponder the implications of both action and inaction.
Rocket science: Roman Signer transforms familiar objects into elemental magic with earth, wind, fire, and water. Poet Armin Senser charts the alchemy.