In late October, The School of Visual Arts held its 23rd Annual National Conference on Liberal Arts and the Education of Artists, entitled Visions of War: The Arts Represent Conflict.
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!
A record keeper in both her drawings and story telling, Lauren Redniss holds tight to details to keep them from being stolen by the pitfalls of memory.
David Ryan’s flamboyantly colored sculptural paintings are both economical and obsessive, creating an effect that interviewer Ryan Spencer describes as “Minimalism on mushrooms.” He’s currently showing work at Davidson Contemporary on Fifth Avenue.
Click through for a slideshow of images from Mitch Epstein’s latest book American Power, a collection of photos highlighting the American addiction to energy production and consumption.
At a first glance, Lothar Osterburg’s photographic works can be visually disorienting given the textural presence of their surfaces. This is because these are photogravures, prints—that is, works on paper—rather than photographs.
Despite the economic climate and whatever bleak circumstances could engender movies like this, Milano Chow and Megan Plunkett, recent graduates from Barnard and Pratt, respectively, have been running their own independent printing presses.
The annual Frieze Art Fair hosts galleries from over 30 countries in a massive exhibition space temporarily erected in Regent’s Park, London. Click through for a slideshow of images from this year’s show by photographer Michael Schuller.
We’ve got eight weeks to go until all our interviews are archived…Whether be it a poet writing a novel in three nights, men painted blue making music with Cap’n Crunch cereal, or a painter using the floor as her canvas, something unites the artists in BOMB’s interviews. Plucking through the archives over the past few weeks, it seems that several artists allude to a similar phenomenon in their work: an acknowledgement of the unknown.
Kadar Brock is focused on the abstract presentation of a fantastical world and creating an analogy for art making and viewing. The stripped down and simple patterning struck me with its rhythmical geometry.
Tina Schula and Nicola Kast are both artists who deal with the lingering presence of Nazism in their work. They got together to discuss Quentin Tarantino’s recent movie Inglorious Basterds and tried to relate some of the questions that came up to their own photography.
The Sky Below, Stacey D’Erasmo’s most recent novel, explores the theme of flight in many realms.
Pretty arresting stuff from Guatemalan performance artist Regina José Galindo at the opening of her terrific retrospective Friday night at Exit Art.
Salon 94 Freemans recently opened for the season with an exhibition of new black-and-white pictures by the artist Carter. The images, made large-scale by tiling laser printouts, variously depict elegant interiors, figures, and marble sculptures.
Printmaker Michael Wertz lays his large-scale lino print on the asphalt of Rhode Island Street. Arms crossed, he waits for the steamroller to come by.
There’s a frustration I face with modern photography—glossy spreads in magazines and head shots and landscapes. With the advent of Photoshop, everything just looks too perfect.
On the occasion of Dread Scott’s public art project …Or Does it Explode? in Philadelphia, the artist exchanged emails with BOMB Managing Editor Nick Stillman. Scott’s provocative work challenges pedestrians in Philadelphia’s bustling Logan Square to consider the fate of local high schoolers will be on view through November.
Wendy White’s paintings are some of the most dynamic and edgy abstractions being made today. When I was first introduced to her work back in 2005, they were raw, brash, confident—everything that the art world was not at the time.
Math artist John Sims kicks off his exhibition series at the Bowery Poetry Club tonight. Writer / curator A.M. Weaver spoke with him.
Nathalie Ours-Choussat is the Editor in Chief of A Magazine curated by…, which biannually champions the unique voice of a fashion designer.
Keats’ work creates an absurd world that may be uncomfortable to visit, but forces us to examine our own in an entirely new context. Emily Nonko puts the questions to the quester.
This week, From the Archive explores the exterior influences our interviewees have wrestled with—pressures that come at their artistic creations quietly from the side, and also those that come head-on.
This June Alexis Knowlton spoke at The Drawing Center’s colloquium on the “Power of Art.” Her topic was “S.L.A.T.”, Super Lame Art Thematization; calling attention to the corruption of the artist’s intention in the presence of evil middlemen.
Poet and essayist Kristin Prevallet talks to artists caraballo-farman about their series The Heirloom Plates, part of the exhibition Iran Inside Out at the Chelsea Art Museum through September 4th.
West-coast correspondent Christine Lagorio reports from the Oakland Art Murmur. Video after the jump.
As we approach the event horizon of the summer—that nebulous, mid-August point when the season begins its imperceptible slip towards fall—the city pauses for a collective breath.
Michael Bühler-Rose and Matthew Gamber discuss the past, present, and future of black and white in an art world that’s been overtaken by large format color photography.
Throughout the early 1920s, Aleksandr Rodchenko took many photographs of his friends and colleagues. Some were snapshots, others author photos for book covers, and still others would be used in his propaganda collages for the Russian Telegraph Agency.
I am wrapped in a universe of temporal distortion when looking at Mark Borthwick’s photography. His images and installations, a constant fixture in both the pages of the world’s leading fashion magazines and on the walls of museums and galleries, are dedicated to creating an awareness of who he is at that moment.