A friend of mine knows that fine art is totally subjective. He has a reply for every criticism, good or bad:
“That’s what makes it so great.”
With confounding kindness, this retort will de-claw even the harshest critic.
Abstract painting is all over New York this fall. Managing Editor Nick Stillman rounds up some vintage and recent BOMB interviews that “tackle the eternally thorny topic.”
Rebeca Raney (RISD, BFA 2003, and School of Visual Arts, MFA in 2005) knows how to tell a story. It’s not unusual for a conversation that begins over a stack of new drawings to end with a spellbinding tale weaving together sleazy landlords, collapsing Florida real estate, one tough mom and murder.
When I went to watch the Glenn Kaino/Ryan Majestic magic show at the Slipper Room the other night, I really didn’t have a clue what I was in for. Luckily (especially when it comes to this breed of guerilla “art-magic”) not knowing any of this beforehand was probably the best way to go into this one-night PERFORMA event.
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.
Earlier this year I posed a question to 12 admired painters: “What is the current state of abstraction?” The following is a collection of their responses, spanning the absurd, the analytical, and the visionary, all linked by an undercurrent of curiosity for the unknown.
Anyone that can get to the UCLA Hammer Museum soon is in for a treat. Two strong yet very different shows share the upper level. Heat Waves in a Swamp: the Paintings of Charles Burchfield (October 4–January 3, 2010) is an abbreviated retrospective curated by Robert Gober and Cynthia Burlingham.
John Baldessari sheds light on his practice, his politics, and his years in the art world.
I seized on an invite from the Museum of Contemporary Art in La Jolla, California to attend what was, to date, the most comprehensive presentation of prints by the venerable John Baldessari. Later on, I encountered the artist’s work mashed up with Rirkrit Tiravanija’s in a dual show at a Los Angeles gallery.
Santa Monica-based Baldessari is renowned for his tenure teaching at Cal Arts and credited with spawning a generation of conceptual artists. His career began in nearby San Diego, which is also my hometown and where I met him.
Since speaking with me John has received Germany’s Kaiser Ring and also punctuated a multi-year series kicked off in Zurich with new output at Marian Goodman Gallery. Below, we talk about politics, his latest work involving music, and the recipe for a contemporary art museum.
John Baldessari Something funny comes to mind. This morning I read in the paper about an international gallery dissolving their partnership that decided to keep their California business in operation. They are claiming the area has much more of an interest in contemporary art . . . I thought that was a surprising comment to make about Los Angeles.
James Eischen Recently a great deal has been said regarding your exit from the board at Museum of Contemporary Art Los Angeles (MOCA). It has me curious about what you believe are the most important elements of a contemporary art museum.
JB That is tough. Institutions devoted to Contemporary Art need to do more than entertain. It takes a nutritional kind of balance to create offerings, preferably featuring both well-known and unknown artists of the utmost seriousness.
Bringing new meaning to “pop-up,” the archive takes to the streets…
Shakespeare and Company, the legendary English-language bookstore on Paris’s Left Bank, recently got a facelift. Several faces, in fact. Fourteen illustrated portraits of the Lost and Beat Generation writers who once frequented the store—and its predecessor—now adorn the staircase wall leading up to the second floor library of the bookshop.
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.
Acting as a signpost for a new exhibition at PS1, “Green Desert” by Heather Rowe sensitizes visitors to visual textures, literal referents, and artistic nuance, keys to experiencing much of the work that has been brought together.
When I think of Pam Joseph’s work, I imagine standing before Bernini’s classic sculpture Pluto and Proserpina, with Pluto wrestling a naked Proserpina, while behind it as backdrop is a Victoria Secret billboard advertisement, the golden cleavage, faceless head thrown back in pleasure, blown ten-stories high in technicolor.
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.
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.
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.
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.
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.
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.