BOMB 118/Winter 2012
B. Wurtz on the ability of Tamara Zahaykevich’s small-scale, handmade sculptures to draw out the details of daily life.
WEB EXTRA VIDEO Artist Pedro Reyes talks to Terence Gower about his lecture video New Utopias which investigates utopian fantasies from Funkadelic to Jacques Demy to Sun Ra. Watch an exclusive clip.
Artist and musician Stephen Vitiello on the cerebral, imaginative responses of Jennie C. Jones to the “the physical residue of music.”
R.M. Fischer’s reinvented style nods towards variable textures, visible seams,floppy vinyl, and a wide variety of fasteners. Artist Daniel Wiener finds the new work inspiring for the future of sculpture.
Abby Goldstein describes the studio of Phoebe Washburn and the giant beehive-like installation that is currently being created there. Washburn works with two-by-fours and other materials found on the street and in past installations.
Jimbo Blachly and Lytle Shaw are the editors and guardians of an archive full of experiences and paraphernalia belonging to the elite-though-fictitious Chadwick family. An exhibition of the archive is currently on display at the Wickleman Gallery.
Andrea Blum’s sculpture work rises above the plane of mere physical and material existence. Pamela Lins discusses these interactive and psychogeographic pieces.
Mimi Thompson profiles Rachel Hovnanian, an artist who hauntingly represents beauty at its most chilling in the form of sculptures, photographs, paintings, and narcissus petals.
Writer John Haskell discusses artist David Shapiro’s Money Is No Object, an autobiographical show in which receipts, bills, and ticket stubs collected by Shapiro over the course of a year are reproduced by meticulously by hand.
Steve DiBenedetto analyzes the psychedelic and nonconformist tendencies of painter Michael Williams.
Jorge Queiroz’ drawings are caught somewhere between dream-state and linear reality. New York artist Emilie Clark questions the multivalent act of seeing them.
Check out 2 exclusive videos by Rona Yefman! For 14 years, Israeli artist Yefman has chronicled the gender transition of her sibling, Gil. In the new issue, video artist Michel Auder interprets the works’ chaotic, familial boundaries.
Check out two exclusive videos from the collaborative artists and then read their discussion with Craig Kalpakjian, featured in Issue 115.
Writer and BOMB’s managing editor, Sabine Russ, discusses JJ Peet’s “radical, self-perpetuating, and elaborate” systems of creating art under self-imposed restrictions.
Israeli artist, Omer Fast, tells us about watching Claudia Joskowicz’s video art from his laptop at London’s Heathrow airport.
New York artist Bruce Pearson visits John O’Conner’s Long Island City studio, to better understand the relationship between artificial intelligence, hair loss, military operations and O’Conner’s drawings.
In her recent video series, Folklore, Patricia Esquivias presents narratives of recent Spanish history segmented by connections and musings of her own.
Monika Baer’s paintings combine deliberately rendered images, often suggesting the humorous, with slurred areas that seem like a calculated concession to impulse.
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 on design collective Futurefarmers, whose project Shoemaker’s Dialogues will be at the Guggenheim in New York City from May 4th through the 14th.
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.
