BOMB 123/Spring 2013
In Elizabeth Murray’s 1998 BOMB interview by Jessica Hagedorn, the two discuss ordinary objects, domestic novels and what it means to be feminist.
Three paintings, titled A Personal History of Italian Film (numbers 3, 9, and 6) by Carl Palazzolo, accompanied by a reflection on the work from Betsy Sussler.
Artist Lorna Simpson has turned from photography to film, creating three-dimensional installations on voyeurism, betrayal and desire. She has returned to photography for her show, Gathered, up at the Brooklyn Museum through Aug. 21.
Gregory Crewdson’s photographs of expansive dioramas recall Duchamp, Emerson, and the American suburbs. The documentary Gregory Crewdson: Brief Encounters is in limited release now.
Dickson’s paintings documented the isolation and the life of Times Square pre-vamp. She and Sylvère Lotringer discuss the suburbs, demolition derby and becoming American.
Barry Le Va has been making situational sculptures since the late ’60s. He and his cohorts, Bruce Nauman, Gordon Matta Clark and Carl Andre, helped reinvent what sculpture could become. Le Va and Saul Ostrow unearth the past and overturn the present.
Stanley Moss reflects on two paintings by the famously obscure landscape painter Wolf Kahn, an artist who stretches the possibility of his sometimes dismissed subject matter.
Artist Matthew Ritchie’s “project”—his paintings, sculptures and website—fuses myth, science and a host of funny-headed characters into a brave, new interactive world.
Two stills from videotapes, Color Wipe and Animation II, and two large sculptures with neon light, from the Cat Doucet series, Depose and Atchafalalya by Keith Sonnier—written reflection by Betsy Sussler.
Gilles Peress, one of the most perspicacious and intrepid eyes in photography, covers the ongoing troubles in Northern Ireland, and the civil wars in Bosnia and Rwanda.
Poet and curator Goran Tomcic and Slovenian sculptress Marjetica Potrč on displacement and the genius loci.
Saul Ostrow on Glen Seator’s tilted, full-size replicas of an office and bathroom, N.Y.O.& B.
Emmet Gowin’s early works were family portraits; his later photographs, aerial shots of the American heartland, record the beauty and waste of the land. Photographer Sally Gall tracks Gowin’s amazing career.
Philosopher David Carrier has a special understanding for sculptor David Rabinowitch’s influences: Hume, Spinoza and Wittgenstein. Based on an interview, a text on philosophy, sculpture and Rabinowitch’s methodology.
Keith Tyson explains his “Artmachine” computer program, which pulls pieces of information from a reservoir of different sources and matches them at random to create project proposals which are then considered for construction.
Speaking through materials, Joshua Neustein recalls cultural memory and history. His elegant and earthy installation Light on Ashes does just this.
A glass a day, every day…An artist’s obsession: the act of painting.
Artist Laurie Simmons photographs have toyed with our perceptions since 1976. Her show The Love Doll opened February 14th at Salon 94 in the Bowery.
Racing thoughts: Artist and poet Marjorie Welish speaks to the legendary painter on the eve of his Fall 1996 retrospective at the Museum of Modern Art.
Jeffrey Vallance’s art has infiltrated the Vatican, the Debbie Reynolds Museum, the Liberace Museum and a Nautical Museum not far from the Arctic Circle. Writer David Pagel quizzes Vallance on the sacred and the profane.
Art in Public Space contains work by David Hammons, Jenny Holzer, Daniel Martinez, Mierle Laderman Ukeles, Corky Lee, Peggy Diggs, Christian Boltanski, Agencia de Viaje, Felix Gonzales Torres, Vito Acconci, Marsland-Ovalle, and Jeff Koons.
The Bohen Series on Critical Discourse. John Elderfield, Chief Curator-at-Large of the Museum of Modern Art, speaks with philosopher David Carrier about Matisse, Mondrian, Prud’hon and contemporary theories of taste and interpretation.
Saul Ostrow on Thomas Nozkowski, an abstract painter interested in the diversity and indeterminacy rather than the limitations of his much discussed medium.
Malcolm Morley discusses growing up in London during the war and making realism abstract with Richard Francis. A new show of Morley’s monotypes opens at Sue Scott gallery on January 11.
Oliver Herring’s diary from Framed by Darkness, performed in Israel.
Weiner, whose work is currently on view at Beyer Projects, discusses the imperatives of need in language, in life and in getting the job done with the poet Marjorie Welish.
Artists Kiki Smith and Barbara Bloom wander through the thought processes that separate the compelling from the mediocre, the public from the private. Bloom’s show As it were … So to speak is at the Jewish Museum now.
Jo Baer is the featured artist at The Artist’s Institute, where her abstract minimalism is paired with the spastic eroticism of Anne-Mie Van Kerckhoven through May 22nd. Baer spoke to Linda Boersma in BOMB in Fall 1995.
Two paintings evocative of the allegory of the cave, titled Tree Shadows and a detail of the Arrangement by Ena Swansea.
Two works on paper, titled Transplant One and Two by Elliott Green, accompanied by text from Saul Ostrow.
