BOMB 113/Fall 2010
Oil, watercolor, and charcoal on paper mounted on canvas, titled Engineer’s Gate (A.M.), by Jack Barth. This article is only available in print.
Christian Boltanski discusses his MOCA installation (Summer 1988) with Irene Borger. Boltanski’s somber installation reflects his concern that the Jews face a fate similar to that of the American Indians.
Artist Annette Messager on her titles, the craft of hysteria, and the obliteration of language.
Gary Stephan aims for a middle ground between “the joke” and “the big deal” with the template-like forms in his paintings.
“Paintings are like angels” says painter Dorothea Rockburne, “they go out and plant their messages.”
The second installment of a round table discussion on ideas of utopia and modernity in painting.
A look back to nearly twenty years ago, as Richard Prince discusses the jokes, cartoons and gangs that populate a lifetime of work, with Marvin Heiferman. Prince has a new show at Gagosian Gallery in New York which opens November 8th.
A roundtable discussion on whether or not art can reverse history and the notion of the “sublime” within painting.
Three prominent female painters engage in a round-table discussion about style and technique in their paintings.
A conversation between Mike Kelley and Craig Gholson on the LA art scene. Part of Wade Saunder’s Los Angeles portfolio.
A fascinating discussion between long-time BOMB contributor Gary Indiana and the late Robert Mapplethorpe on the New York art scene of the late 1980s and the difficulties of intimacy, comfort and eroticism in photography and portraiture.
Hailed by The New Yorker critic Peter Schjeldahl as “the most profound abstract painter of the past four decades,” Marden began his career under the tutelage of Robert Rauschenberg and went on to teach seminal artists Richard Serra and Chuck Close.
Eight women artists respond to Saul Ostrow’s gendered questions on the significance of being a woman artist…all to raise further questions on the (ir)relevance of gender roles.
Artist Jeremy Gilbert-Rolfe and poet David Shapiro discuss the role of criticism and influence in art, ranging from abstract representations of space to why the Beastie Boys are more transgressive than the avant-garde.
James Rosenquist, one of the key American Pop Artists, has been making and showing his paintings for several decades. His early ‘60s work, like that of Warhol and Lichtenstein, provides a seductive but critical mirror image of the mass media.
The Famous Weegee, self proclaimed perfectionist and maverick photojournalist, talks about humanizing a sad news story by photographing chaotic street scenes and taking portraits of grieving family.
Duane Michals moves beyond representation and reproduction in his photography, and instead “writes” with his art. He explains the importance of constantly redefining the medium to fellow photographer David Seidner.
Eddie Owens Martin led a bizarre life as an artist, hustler, fortune teller, architect, and religious visionary. His most remarkable artistic endeavor was re-inventing himself as St. EOM.
Artist and writer Aimee Rankine examines the confrontation with mortality that resides in Ross Bleckner’s work and the connection between paintings and trophies.
The late Gretchen Bender created “high tech” art when “high tech” was still an accepted turn of phrase. Here, she talks to Cindy Sherman about the appropriation and manipulation of T.V. commercials, images from the news, and contemporary art.
Famed Abstract-Expressionist Joan Mitchell evades questions and ties the interview format into a knot, all the while offering hints at the unapologetic brilliance behind her craft.
Two ‘80s works by Jeff Koons: New Hoover Convertibles, Shelton Wet/Dry Doubledecker and Two Ball Total Equilibrium Tank.
Sculptor and painter Alexander Liberman worked as Editorial Director of Conde Nast at a time when fashion magazines were more closely tied in with the art world than ever.
Georgia Marsh and David Deutsch discuss obsession, planetariums, and the elusive relationship between interior and exterior spaces in his work.
April Bernard and Mimi Thompson speak with the legendary American painter on the eve of a Fall 1986 exhibition of his work, getting to the bottom of Lichtenstein’s brushstrokes and revealing his true feelings about comics.
Jackie Winsor talks to Craig Gholson about the influences of color on her sculptures and the discoveries she comes across through her work, as well as the dichotomous elemental impact of fire.
David Salle and Georgia Marsh touch upon the lines drawn between pornography and eroticism, penetration and degradation, and the “tender gesture” of drawing.
Raymond Voinquel’s cinematic style pushed the envelope of fashion photography. Collaborating with writers and directors, he found a scale to match his vision of style on the big screen.
Fashion icon Lisa Fonssagrives-Penn discusses her long artistic career as a dancer, model, photographer, designer, and sculptor.
In this classic BOMB interview, Editor-in-Chief Betsy Sussler speaks to renowned artist Cindy Sherman about the role acting takes in her photographs, facilitated by props, mood and character development.
