Watch a BOMB Extra Video with painter Fred Valentine, whose work is featured in First Proof, BOMB’s literary supplement.
This First Proof contains a portfolio by Fred Valentine.
Watch a BOMB Extra Video! BOMB 116 cover artist Mickalene Thomas showed us around her studio and described her creative process in this exclusive BOMB Behind the Scenes video. Read her conversation with Sean Landers in the BOMB 116/Summer 2011issue.
This First Proof contains two pieces by Elena Berriolo, from Various Music For a While.
This First Proof contains selected drawings and texts from Paul Dickerson.
Smith discusses Afrofuturism and its struggle with memory with photographer Leslie Hewitt.The artist’s Sun-Ra-based exhibition The Journeyman is up now at threewalls in Chicago.
Mickalene Thomas on the influence of Romare Bearden, David Hockney, Matisse, and Carrie Mae Weem’s “Mirror, Mirror on the Wall . . . .” Her show Origins of the Universe is on view now at the Brooklyn Museum.
This First Proof contains three watercolor paintings by Emilie Clark. For copyright reasons, this content is available in print only.
Jorge Queiroz’s drawings are caught somewhere between dream-state and linear reality. New York artist Emilie Clark questions the multivalent act of seeing them.
Berlin-based painter Katharina Grosse sees infinite potential in the marriage of imagination and projection. Her work is on view now at the MOCA Cleveland and at the High Museum in Atlanta.
Joe Fyfe tells painter Josh Blackwell about his involvement in abstraction as a by-product of loss and the wabi-sabi discovered on his travels to Vietnam, Sri Lanka, and Bangladesh.
Olivia Booth and Rebecca Norton’s works address the body directly by involving us in an involuntary relationship to interiority, in which it’s inseparable from the exterior—surface, skin, or the space in front of either.
Painter Richard Hull interviews artists Jim Nutt and Gladys Nilsson in their Chicago home. Check out an audio excerpt from their conversation about El Greco, Chicago Imagism and the Hairy Who.
German artist Von Heyl’s puzzling paintings rely on what she calls “cringe factor.” Fellow abstract painter Kaneda uncovers the unstable tendencies and surprising juxtapositions at the core of Von Heyl’s work.
Monika Baer’s paintings combine deliberately rendered images, often suggesting the humorous, with slurred areas that seem like a calculated concession to impulse.
Shields, author of the much-debated book on appropriation, Reality Hunger: A Manifesto, used the epistolary method, via email, to discuss the influence of California’s counterculture on Tomaselli’s visionary paintings.
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
Strau on “dangerous formalism” and the work of Hubbard. His show Magical Ramón and The Five Bar Blues is on view through June 1 at Maccarone Gallery.
A conversation with Cruz-Diez is excerpted from Brodsky’s extensive oral histories with the seminal artist. His new work is at Maxwell Davidson Gallery through June 28.
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.
A set of 9 watercolors featuring shot glasses with written phrases by David Kramer. This article is not yet available online.
Matthew Aaron Goodman reviews two books on Graffiti: Jack Stewart’s Graffiti Kings: New York City Mass Transit Art of the 1970s, and Subway Art: 25th Anniversary Edition, by Martha Cooper and Henry Chalfant.
Mimi Thompson reviews the painting style of Bobbie Oliver.
Artists Dike Blair and Joe Bradley set the record straight on irony and sincerity, kitsch and the sublime, anarchy and aestheticism. Bradley curated a Group Shoe at Gavin Brown, on view through July 30.
Joyce Pensato starts with the most iconic cartoon figures—Mickey, Minnie, Daffy, Krazy, and Homer—but her representations of them couldn’t be further from their usual plastic media. Hew new work is up at Corbett vs. Dempsey through the end of November.
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.
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.