BOMB 118/Winter 2012
Artist Matthew Lutz-Kinoy collaborated with producer SOPHIE and triple-threat Chelsea Culp at the New Museum in September. The result? Paint on the dance floor, and an inescapable harmony that you can’t help but whistle to.
In conversation with poet Richard Siken, be prepared to bleed a little.
Richard J. Goldstein explores the shifting, spectral geometry of Dorothea Rockburne’s retrospective, In My Mind’s Eye. Watch a video of his visit in the second of a two part installment of BOMB on the Scene.
Carmen McLeod cracks open the creative process with Open Structure, her debut show at CRG.
Richard J. Goldstein explores the shifting, spectral geometry of Dorothea Rockburne’s retrospective, In My Mind’s Eye. Watch a video of his visit in the first of a two part installment of BOMB on the Scene.
In an informal conversation held at the Berkshire Museum in Pittsfield, MA on August 6, 2011, Edward Sullivan sat down with Roberto Juarez to talk about his most recent exhibition Mural Paintings.
Mary Jones speaks to artist Marc Handelman about multiculturalism, marble, and mountains in the latest Post Impressions.
What we say and what we fail to say matters. Read what Kathleen MacQueen succeeds in saying about the 54th Venice Biennale in the latest installment of Shifting Connections.
In this roundtable discussion with the participants of the new art show Don’t Wake Up, Richard Goldstein inquires to each artist how estrangement, displacement, and their environment effect their artwork.
Bhanu Kapil interviews Luke Butler, with ancillary notes on vertigo, citizenship, and Gerald Ford’s penis, in the fifth installment of BOMBlog’s reprints of [ 2nd Floor Projects ]’s editions.
It’s been two years since the last odd numbered year, and you know what that means—it’s almost time for the Venice Biennalle! Check out our handy BOMB guide to exhibition’s offerings.
Kevin Kinsella takes issue with the Gagosian Gallery’s framing, both literal and figurative, of Russian Supremacist Kazimir Malevich.
Sascha Braunig speaks with fellow artist Aaron Gilbert on transformative acts of the body, and the transformative act of painting
Kaveri Nair reviews Bologna Meissen, Dianna Molzan’s new solo exhibition at the Whitney Museum, and assesses the difference between painting and “painting.”
When Dr. Hans Prinzhorn published The Artistry of the Insane in 1922, the good doctor couldn’t have anticipated the collection amassed at the 19th Annual Outsider Art Fair in New York this past weekend. Monica Adame Davis explored the outer limits.
Darina Karpov’s paintings teem with figures, charting a movement of thought and image that is sudden, layered and constant. Andrew Frank spoke with her about her recent show at Pierogi Gallery, her process and the perpetual motion of her work.
LaToya Ruby Frazier and Greg Lindquist discuss the aesthetics of decay. Their Planet of Slums exhibition opened December 17th at Third Streaming in NYC.
Influenced heavily by the figure, her background in architecture, the suburban swamplands of Lafayette, LA, and most recently, the dilapidated houses of Queens, NY, Lauren Bordes’ paintings present an alternate reality rooted firmly in our own.
Leonora Carrington is considered the last living member of the inner circle of pre-WWII Parisian surrealists. She’s 93 years old. And she’s still alive and creating art in Mexico City.
The aesthetic modesty of Roman Opalka’s work belies the epic ambition, the monumental heft, of his artistic project.
Joan Waltemath’s paintings are not to be seen, but experienced. Their architectural nature speaks to the body and its 1:1 connection to surface.
BOMB’s Richard J. Goldstein talks generational differences, scale, and what it means to be a New York Artist with Greater New York artists Sam Moyer and Franklin Evans in this cyber-roundtable discussion.
Kelsey Henderson paints strangers she meets over the internet or through loose friend-of-friend connections. Her subjects become a celebration of the newly discovered, the outsider’s gaze, the place just before the beginning.
What better way to luncheon in the garden than on Sean Mellyn’s subversive/commemorative Monet inspired Chinette? Laurie Simmons speaks with Mellyn about his residency in Giverny and the work that sprung forth from the lily pond.
If there is an edge to painting, has anyone ever jumped off? Klein jumped, or so staged it. He is the point of departure for Joyce Kim’s most recent body of work.
Lynn Maliszewski on Jenny Morgan’s hyper-realistic, technically experimental portraits with subjects that hover in the space between intimacy and autonomy.
Aaron Wexler channels nature’s ambiguity through fractured glass and floral forms. In the first installment of Procedural Musings, BOMB’s Lynn Maliszewski steps into his studio to find out how this flower child progeny creates his work.
DOLK has gone from painting on the sides of abandoned houses in the Norwegian countryside to stenciling on buildings near high-traffic Williamsburg locales. Richard J. Goldstein caught up with him in the backyard of the Brooklynite Gallery in Bed-Stuy.
Powers’ found notes, at first glance, seem like off-color scribblings by creepy schoolchildren. Upon closer examination, one recognizes his painstaking colored pencil markings scrawl of their original authors, enabling him to add his personal touch.
On the last weekend of January, the Art Los Angeles Contemporary fair (ALAC) stamped an impressive footprint on the second floor of the Pacific Design Center (PDC).
