BOMB 123/Spring 2013
The two painters, old friends, discuss craft and the American way in a conversation that ranged from basketball to the nature of art. Zucker’s work is at Mary Boone Gallery through April 27.
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.
Amy Sillman on the delirious tension between knowing and not-knowing in the paintings of Ellen Birkenblit, who’s new work is on view at Anton Kern Gallery through March 30.
An artists on artists text on Painter Doug Ashford by Steve Kurtz, accompanied by several paintings by Doug Ashford, the first titled War Is Over.
An artists on artists text on Painter Camille Rose Garcia by Ryan Nole, accompanied by four paintings by Camille Rose Garcia, the first titled Antarctic Suburban Outpost.
Text on painter Joe Fyfe by American Poet Marjorie Welish, accompanied by three paintings of acrylic and gesso on terrycloth, canvas, and burlap, the first titled La Gloire by Joe Fyfe.
Heir to the American visionary tradition, Bill Jensen’s art evolves through an intuitive process grounded in the act of painting. Poet John Yau tracks a lifetime. Jensen’s work is at Cheim & Read through February 18.
For the 2007 Americas issue, Roberto Juarez underscores the distinctly Hispanic elements of the quirky kinky graphic art of Paul Henry Ramirez.
Untitled oil on linen painting from 1960. This article is only available in print.
Artist Sasha Chavchavadze speaks about her family’s royal past in pre-Socialist Russia and what drove to create the collection Matchwork.
An artists on artists text on Artist Gregory Blackstock by Leah Beeferman, accompanied by several drawings by Gregory Blackstock, the first titled The Irish Joys.
Award-winning novelist Madison Smartt Bell instigates an epistolary exchange with painter Judith Linhares on dream theory and Emily Dickinson. Linhares’ new show Riptide opened at Edward Thorp Gallery on February 25th.
Mimi Thompson and Keith Sonnier on how Lluis Lleó’s family lineage and his interest in cooking inspire him, as well as how his paintings dare to extend out into space.
Dona Nelson on how Steven Charles’ nearsightedness aids and inspires the creation of his swarming, colorful, jam-packed abstracts.
New York-based painter Joe Fyfe interviews Bernard Piffaretti about Piffaretti’s signature take on abstraction. Fyfe recently curated the exhibition Le Tableau at Chiem & Read, which features work by Piffaretti.
Keith Mayerson on how Randy Wray’s paintings and sculptures channel a Southern gothic sensibility through a 21st-century surrealist technique. Mayerson is currently showing work at Derek Eller Gallery.
James Casebere on the mesmerizing, indefinable anatomical forms found in the drawings and paintings of Brian Wood.
David Salle on how Kate Manheim’s work as an actor informs the creation of her rich, kaleidoscopic abstracts.
Violence and whimsy, satire and surrealism coexist in vibrant color on Dana Schutz’s large canvases. A new show of her work is on through December 18 at Neuberger Museum of Art in Purchase, New York.
John Phillip Santos on painter Rolando Briseño’s cosmic scale and his use of “color in motion.”
Pablo Vargas Lugo’s bright, playful collages and installations explore dark subjects: from the entropic effects of time to traumatic events like the extinction of the dinosaurs and modern-day technological accidents.
Mimi Thompson on how Stanley Whitney’s colorful grid paintings aspire to “density with a lot of air.”
Lucy Raven on how the mythology of underground guerrilla groups and the American frontier inspire the drawings and paintings of Adam Helms.
Jan Estep on how both visual process and internal psychology play a role in the abstracts of Clarence Morgan.
Lincoln Perry’s mural at the University of Virginia re-envisions the building’s view of distant mountains as the acme of a kind of secular Pilgrim’s Progress.
Murray and Bartlett reminisce about the New York art world of the ‘60s and ‘70s. Barlett’s show Chaos Theory (1972-2013) is at the Locks Gallery through June 29.
Herrera’s use of profane materials—familiar, commonplace images—“contaminate” the carefully circumscribed world of the abstract. A show of his new work opens at Corbett vs Dempsey in Chicago on May 10.
