BOMB 113/Fall 2010
Listen to a BOMBLive! A fall 2002 interview with artist Rackstraw Downes by author Philip Lopate at the New Museum, in which they discuss the landscape, British painters, and deliberate awkwardness.
WEB EXCLUSIVE Travel writing is a known genre, but travel painting? Mike Glier and Roberto Juarez walk through Glier’s current exhibition of landscape paintings made in Ecuador, the Canadian Arctic, New York & St. John—a global line of longitude.
WEB-EXCLUSIVE Painter Trevor Winkfield and writer Maggie Paley meet at Winkfield’s studio to discuss Winkfield’s graphic, disquieting, and bizarrely ceremonial paintings.
Watch a BOMBLive! Author A.M. Homes interviews painter Eric Fischl as part of “The Figure in Narrative” Series, filmed at the New York Academy of Art in Lower Manhattan.
Watch a BOMBLive! Novelist Mei Chin interviews painter Dana Schutz as part of “The Figure in Narrative” Series, filmed at the New York Academy of Art in Lower Manhattan.
The final poignant interview with the prolific, irrepressible, and—to anyone who met him—unforgettable New York artist Dan Asher, who passed away of Leukemia on April 23, 2010
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.
Artist Cruz-Diez has lived in Caracas, Barcelona, and Paris. His interview is excerpted from Brodsky’s extensive oral histories with the seminal experimenter whose work developed a participatory phenomenology of color.
Dulce Gómez makes assemblages and installations that synthesize calculation and chance. Castillo Zapata queries the artist on systems, psychoanalysis, and Benjamin’s essay on Baudelaire.
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.
Artists Dike Blair and Joe Bradley set the record straight on irony and sincerity, kitsch and the sublime, anarchy and aestheticism.
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.
In her hometown of New Orleans, Humphries created silver and ghost paintings in an auto garage for the Prospect.1 Biennial. The artists on the beckoning mutability of Humphries’ paintings.
Andrew Moszynski on why optimism is at the heart of the socioeconomic statements Fernanda Laguna makes with her paintings, drawings, poems and plays.
Painter Guillermo Kuitca has shown his work the world over, but his practice is deeply embedded in Buenos Aires. He speaks with artist Mathias Duville about provocation, his winter of discontent, and a nomadism of the mind.
Roberto Juarez on how Robert Brinker’s paper cutouts balance warm, Disney-like comfort with strident sensuality. This article is only available in print.
Peter Saul—painter of satirical and ribald images since the 1960s—on his recent move to New York City, assimilation into the art world, and his big, bad subjects.
James Siena on how painter Chris Martin’s long, difficult career is finally paying off.
Painters Steve DiBenedetto and David Humphrey on what mind-altering drugs have in common with Venturi, Cezanne, Catholicism, and heavy metal.
From street murals to the gallery, our cover artists create a visual diary, culling from Brazilian folklore, a vibrant personal iconography, and graffiti culture.
Joe Fyfe on the place between abstraction and caricature where Andrzej Zielinski’s paintings reside.
As a child, Doig lived in Trinidad; he relocated there in 2000, followed soon after by Ofili. The old friends, both painters, met to discuss how a place and its history reinvents subject.
The painters, friends from the old days, discuss craft and the American way—an oral history ranging from basketball to the nature of art.
Steve Earle on how Robbie Conal’s satirical, defiantly political drawings involve a constant process of teaching and learning.
Rochelle Feinstein on how contradictory values and techniques drive the paintings and sculptures of Pam Lins.
Brooklyn poet Christian Hawkey and Swedish painter Mamma Andersson begin this correspondence with a rumination on memory, architecture, and turtles.
Walker’s charged antebellum imagery has engendered heated debate. Poet Matthea Harvey charts the personal and historical sources of its provocation.
