BOMB 123/Spring 2013
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, whose latest is on view now at Hammer Projects in Los Angeles.
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.
Read Biggers on Johnson, who has a show at MCA Chicago through August 5.
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.
Kuitca, whose new work is at the Drawing Center through December 16, speaks with Duville about provocation, his winter of discontent, and a nomadism of the mind.
Roberto Juarez on the way that Robert Brinker’s paper cutouts balance warm, Disney-like comfort with strident sensuality. Brinker’s exhibition Command X will be at Gallery 212 in Aspen, Colorado through June 30th.
Peter Saul—who’s satirizing the American politics and pop culture in his ribald paintings since the 1960s—has a show at Veneklasen/Werner in Berlin through June 29.
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 (also in Issue 115!) on the place between abstraction and caricature, where Andrzej Zielinski’s paintings reside. Zielinski’s show Seven Screens is up at DKCT Contemporary through March 27th.
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.
