BOMB 113/Fall 2010
Stephen Westfall inspects the typical Cordy Ryman sculpture discovering it to be a seemingly autonomous entity complete with its own agency and the ability to miraculously self-propagate.
Ed Halter on Andrew Lampert’s ability to combine the documented and the live in a way that insists on the imediancy of cinema as an event.
David Van der Leer praises design collective Futurefarmers for showing the art world that direct engagement of audiences isn’t just a job for activists and educators.
Author Minna Proctor contemplates the universe of Sharon Harper’s long-exposure photographs of the starry night sky.
Surrounded by “empty objects longing to be powerful,” Jimbo Blachy confronts Joanna Malinowska’s eclectic and mysterious exhibition Time of Guerrilla Metaphysics at CANADA gallery.
Joseph Strau challenges Alex Hubbard (and himself) on the “dangerous formalism” in new abstract painting while attending the opening of Besides, With, Against, and Yet: Abstraction and the Ready-Made Gesture.
The collective Nascimento/Lovera radically edits popular films for public consumption as a statement about the globalization of the narrative structure.
Roughly translated as “a place to doubt,” Lugar a Dudas serves as an artist’s space and cultural center in Cali, Colombia.
Venezuelan-born, Brooklyn-based Esperanza Mayobre’s work deals with “the trauma of displacement.”
Dan Schmidt employs found objects and an arsenal of modest shapes to breach the boundary between the conscious and the accidental. James Siena explores the hidden world inside Schmidt’s paintings.
In Tala Madani’s paintings, Diana Al-Hadid notices a peculiar relationship between manner and matter, directness and ambiguity, alienation and connection.
Violist Anni Rossi recounts her touring experience with outlandish trio Micachu and the Shapes, who are playing at Littlefield in Brooklyn this Friday, October 2nd.
Simmons, as an artist, doubles down. She captures the fiction/truth dialectic as well as anyone, dis-articulating assumptions about the quietly composed and staged images she makes.
Michael Combs’s sculptures mix the Waspiness of traditional animal mounts with the taboo fetish sexuality of carved wooden birds wearing leather masks, emerging from leather strap-ons, and draped—flaccid—over Winchester gun stocks.
Dan Wolgers is in his third decade of delivering snapshots of the improbable.
Joyce Pensato starts with the most iconic cartoon figures—Mickey, Minnie, Daffy, Krazy, Stan, and Homer—but her representations of them couldn’t be further from their usual plastic media.
An artists on artists text on African American Feminism Painter Mickalene Thomas by Artists Kara Walker accompanied by three paintings by Mickalene Thomas, the first titled Le Leçon d’amour.
An artists on artists text on Rashid Johnson, by Sanford Biggers, accompanied by a painting and a photograph by Rashid Johnson, titled Cosmic Slop and I Who Have Nothing.
Emma Wilcox on how Sebastián Patané Masuelli’s immigration from Argentina to New Jersey and the adventure of learning English inspire his ambitious installations.
Andrew Moszynski on why optimism is at the heart of the socioeconomic statements Fernanda Laguna makes with her paintings, drawings, poems and plays.
Alejandro Cesarco works brazenly in a tradition, the aesthetic confines of classic conceptual art. In his work, text prevails over image—replacing it or transforming it.
Roberto Juarez on how Robert Brinker’s paper cutouts balance warm, Disney-like comfort with strident sensuality. This article is only available in print.
Kathryn Andrews on Chris Lipomi’s shockingly expansive and daring self-installation The Cave Project.
Josiah McElheny on how Holly Zausner’s videos explore the limitations of our physicality and “our struggle with the physical and psychic burdens of the body.”
B. Wurtz on the ambiguousness sculptor Charles Goldman aims for between “where his art ends and the rest of the world begins.”
B. Wurtz on the ambiguousness sculptor Charles Goldman aims for between “where his art ends and the rest of the world begins.”
What exactly is music? Michèle Gerber Klein tackles this question in an examination of Tristan Perich and his edgy 1-Bit style, reviewing a performance at the Whitney Museum in February of 2008.
James Siena on how painter Chris Martin’s long, difficult career is finally paying off.
Betsy Sussler on how Rachel Foullon’s paper sculptures explore concepts of home and archeological history.
Elka Krajewska on Paulina Ołowska’s rebellious videos and installations.
