BOMB 113/Fall 2010
Assemblage, Bricollege, and the I: Saul Ostrow and David Pagel interview three women artists.
In his Brooklyn studio, Tod Wizon meets with fellow painter Anney Bonney to discuss the finer points of art, polymorphic thinking, and self-abandonment.
Painter Lari Pittman creates silhouetted scenes brimming with sexuality and nonsensicality—the folk art of a liberated past, channeled through the social realities of the present. Here, he discusses his envy of abstraction, and the horror of an empty bed.
The anonymous collective Gran Fury talks with Robert Gober about their incendiary art, exposing inequality and hypocrisy in our society.
Just beneath the surface of the familiar is where you’ll find the wit that is distinctively Jo Shane’s. In irony, she finds power and voice for her passions.
Dorothea Tanning has been associated with the surrealist movement since it came to NYC in the Forties. In this interview Tanning discusses the misconceptions surrounding her paintings with writer Carlo McCormick.
Family, dream, and tradition govern Aboriginal painting in Australia. Dorothea Phillip, aboriginal dot dot painter, opens her world to New York artist Mary Agnes Smith.
Jeanne Silverthorne is a New York based sculptress who works re-contextualizing primitive and iconic works of art to challenge dominant ideology. See her work at Shoshana Wayne Gallery through 1/9.
Blue Man Group, three individuals making one collective whole, delves into their sociopolitical reasoning for using Cap’n Crunch cereal as a musical instrument.
The joy of flesh, femininity, and pleasure flow from the hands of Alain Kirili into his abstract sculptures creating a suggestive and tactile experience for the audience.
Larry Sultan’s home movie stills are the basis of an ongoing project that documents the American Dream and delves into the relationship between photography and temporality.
Christopher Brown pictures paint as a material and narrative vehicle. Thomas Bolt discusses this direct approach and its refreshing bluntness with the artist.
Sarah Charlesworth’s solo show opens May 7th at Susan Inglett. Her work is also featured in “The Pictures Generation” at the Met.
Jonathan Lasker’s paintings explore the dilemma of being a contemporary abstract painter. His 1989 paintings discussed in this article generate questions about the conscious and unconscious mind at work.
Betsy Sussler writes, “[Carroll] Dunham’s paintings cross the boundaries of taste, belching disorder in an experience of painting that is simultaneously accomplished and uncivilized.” Dunham has work at Gladstone Gallery through 12/5.
Anish Kapoor and Ameena Meer discuss sex and death, subjectivity, and colors.
Robert Gober’s sculptures call everyday objects into question. In the alchemy of transforming these objects, Gober transforms a viewer’s emotional and physical reality; the common made uncommon.
Early in childhood, we internalize what is “good” and “bad”—notions that form the foundation for repressions. Maureen Connor re-presents corporeal taboo through sculpture in humorous and elegant combinations that shake us out of our fears.
Marvin Heiferman talks about co-curating his show Image World.
Roni Horn’s conical pairs and landscape-inspired pieces question the ideas of minimalism. Her new show, Roni Horn aka Roni Horn, is up at the Whitney now.
Two photographs, No Room For Squares and I Feel the Goodness Going Out of Me, by Elliott Schwartz.
Revisiting New York School Abstract Expressionism, David Kapp speaks to Georgia Marsh about the importance of finding a subject matter and content as means to claiming our traditions and making myth again.
In imagining escape from urban life, Robert Greene composes paintings full of sky, friends, and full bred dogs creating stylish fictional scenes. With beauty, he claims “painting can make that magic place.”
What unites the work of Polly Apfelbaum, Bill Barrette, and Nancy Shaver is their incorporation of “found” objects and images. This interview is the first in a three-part series of interviews by Stephen Westfall.
What unites the work of Polly Apfelbaum, Bill Barrette, and Nancy Shaver is their incorporation of “found” objects and images. This interview is the last in a three-part series of interviews by Stephen Westfall.
Painter Michael Tetherow discusses his view of the role of the abstract artist, the magical qualities he finds in certain aspects of nature, and the excitement of the “process of making.”
In a process of material and poetic interrogation, James Nares shares his practice, a return to origins, with Betsy Sussler.
Elenor Trifon gives a thorough account of her trip to Marseilles, augmenting her description of the weather patterns, cuisine, history, music, and art with whimsical details that bring her story to life.
What unites the work of Polly Apfelbaum, Bill Barrette, and Nancy Shaver is their incorporation of “found” objects and images. This interview is the second in a three-part series of interviews by Stephen Westfall.
Found-objects sculptor Kenji Fujita talks with Betsy Sussler about why he is able to endow a group of otherwise ordinary materials with such poignancy and such grace.
