BOMB 123/Spring 2013
Archie Rand on the expansive, colorful works of Abstract Expressionist painter Louise Fishman.
Larry Sultan on Bill Owens’s photographs of suburban life in the 1970s and ’80s in all their beauty and banality.
Casebere’s work is part of the pictures generation show now on view at the Metropolitan Museum of Art.
Cheryl Kaplan on the craft of painter and architect Zaha Hadid and her design for the Contemporary Arts Center in Rome.
William Eggleston reveals the beauty in the mundane through his new body of photographs, which capture everyday scenes of Arizona and Los Angeles.
Mimi Thompson on the floating, dreamlike worlds present in the drawings of Thomas Shannon.
David Hunt on how the visual brilliance of Shahzia Sikander’s paintings overshadow their cultural, sociopolitical subtext.
The Frances Dittmer Series on Contemporary Art. For over 30 years painter Robert Mangold has used a simple, primary vocabulary to explore a range of visual, aesthetic and physical relationships in an eloquent testament to the legacy of abstraction.
Tolle—known for his meticulous replications of historical objects—has a new show titled Commander in Chief up at CRG Galleries from October 11 through November 10.
In an admiring letter to George Mead Moore, artist James Brown discusses D. H. Lawrence, Huayapam, and Sunday mornings in Mexico, all accompanied by two drawings by Moore.
Michael Goldberg came of age as a painter just as New York came into its own as an art center. Saul Ostrow queries the artist on the mavericks—O’Hara, de Kooning, and Pollock—and his role as an artist who’s been creating vital work for 50 years.
Andrea Zittel utilizes design as a tool with larger-than-life goals that merge fantasy, biology, and the built world to produce such projects as curvilinear “escape vehicles.” She currently has a piece on display at the Indianapolis Museum of Art.
A text on Yoshua Okon by Mónica de la Torre, accompanied by photographs from his video installation Orillese a la Orilla.
José Antonio Rodríguez Ramírez examines the work of Pia Elizondo as one of the leading examples of the shift in ’90s Mexican photography. Her shadowy images opened the door to personal, rather than Nationalistic, narrative.
Carolina Ponce de León reflects on María Teresa Hinacapié’s spiritual and political performance art accompanied by five photographs of some of the artist’s performances.
In his paintings and prints, Enrique Chagoya has created a universe where Mexican and US. culture combine with surprising results. Robin Greeley reflects on one of Chagoya’s pieces and the characters that inhabit it.
Brazillian artists Vik Muniz and Valeska Soares both live in New York. They discuss the permeability of borders; the resilience of memory and various architectural forms—the maze, the garden and the folly—as metaphors for desire.
Sergio Vega’s alter ego, his parrot/Dante of the New World, takes us on a metaphysical tour of paradise. Fellow artist and Argentinean Nicolás Guagnini covers a pastiche of issues, from crocodiles and utopia to notions of a postcolonial Garden of Eden.
Pedro Meyer’s photographs of his family, friends, and cultural icons reveal the inner lives of their subjects. His use of new technologies makes these private worlds available to a worldwide audience. Artist George Mead Moore speaks with the photographer.
Architect Aldrete-Haas explores Gerzso’s intuitive world. Of Eastern European and Mexican citizenry, Gerzso embraced Surrealism as well as pre-Columbian art. This intimate and moving portrait of the painter is the last recorded dialogue before his death.
Betsy Sussler on Michael Zwack’s esoteric, lore-filled paintings.
Carroll Dunham on Alan Turner’s fractured “nonmodern” paintings of human body parts.
Vik Muniz practices the alchemy of transforming sugar, chocolate syrup, and any number of commonplace materials into art. He’s also featured in the award-winning documentary Waste Land, out now.
Shirin Neshat speaks about the feminine mystique, human identity and the effect postrevolutionary Iran has had on her life and work. Her work is at the Detroit Institute of Art through June 7.
Art critic for The Nation and National Book Critics Circle Award winner Arthur Danto discusses art with Michael Kelly in anticipation of the publication of Danto’s collected essays, The Madonna of the Future: Essays in a Pluralistic Art World.
Amanda Means on the subversive technique and resultant bleak, isolated photographs of Oliver Boberg.
Kathleen Goncharov on Giovanni Rizzoli’s metaphor-heavy, deeply personal mixed-media pieces.
David Humphrey on the neologistic, evocative paintings of Amy Sillman.
Truly a cyber-era artist, Monique Prieto’s bold, colorful abstract paintings are composed on the computer. Their emotive quality relies on the traditional triangle of the eye-hand-brain. BOMB contributing editor David Pagel finds out how it all connects.
For over 20 years, Donald Baechler has used primitive and pop iconography to make his exuberant paintings. The result is a hybrid of formalism coupled with déjà vu angst. Fellow painter David Kapp conducts the interview.
