Art critic for The Nation and National Book Critics Circle Award winner Arthur Danto discusses art with Michael Kelly in anticipation of the publication of Danto’s collected essays, The Madonna of the Future: Essays in a Pluralistic Art World.
Kathleen Goncharov on Giovanni Rizzoli’s metaphor-heavy, deeply personal mixed-media pieces.
David Humphrey on the neologistic, evocative paintings of Amy Sillman.
Truly a cyber-era artist, Monique Prieto’s bold, colorful abstract paintings are composed on the computer. Their emotive quality relies on the traditional triangle of the eye-hand-brain. BOMB contributing editor David Pagel finds out how it all connects.
For over 20 years, Donald Baechler has used primitive and pop iconography to make his exuberant paintings. The result is a hybrid of formalism coupled with déjà vu angst. Fellow painter David Kapp conducts the interview.
Mary Heilmann on the playful color-field paintings of Joanne Greenbaum.
George Negroponte on the discrete, deliberate, “real” abstract drawings created by Beatrice Caracciolo.
Suzan Sherman on how Al Souza disrupts the “reversed exercise in abstraction” that is constructing a puzzle with his chaotic collages of puzzle pieces.
Currin traces the history of painting from Cranach to the mannerists to Fragonard and Courbet—with a healthy dose of humor. His new work is up at Sadie Coles in London through the end of July.
Grady Turner on Jose Bedia’s primal, cave drawing-evoking paintings.
Saul Ostrow on the modern, social, utopian aims of Jesús Soto’s mixed-media pieces.
Artist George Moore talks to the grand maestro of Mexican art, Francisco Toledo, about his home state of Oaxaco, his mythical art and the legacy he’s built for his people.
A mid-career conversation touching on baseball, books, and the “subject that is now almost off-limits: punk.” A new show, “To Wit,” is up through October 26 at David Zwirner Gallery.
Betsy Sussler on drawings by Melissa Marks which feature a character named Volitia exploring worlds consisting of “exploding . . . amorphous cloud[s] of color.”
Ida Applebroog’s paintings master the secret of psycho-drama: always in the midst of an action, their denouement is left to our imagination and fears. Patricia Spears Jones speaks with the painter about the everyday violence that surrounds pop culture.
This First Proof contains artwork by Gregory Crane and April Gornik’s reflections on it.
Mary Heilmann’s life’s work has stretched across two coasts and three generations, from Berkeley’s hippies to New York’s ’70s bohemia to the yuppified ’90s.
Artists James Hyde and Archie Rand discuss the joys of cooking, Kline’s epitaph for Pollock, Warhol’s unconscious and the art of redemption in their favorite hideout—a hometown bar in Brooklyn. We listened in.
Betsy Sussler talks time, abstraction, certainty, and the unknown in the gestalt works of George Negroponte.
“What is it like to make a painting?” inquires writer Francine Prose. An opaque question laid bare by painter Thomas Nozkowski, who lets us see the machinations of the mystery that can’t be solved.
Carrie Yamaoka paints imperfect mirrors, distorting her viewers and their interpretations with mylar bubbles.
This First Proof contains two mixed media on canvas pieces, Beauty Contest and Tricks for Kids by Billy Copley. Featuring a written reflection by Mimi Thompson. For copyright reasons this content is available only in print.
1997 was a good year for Marshall: a MacArthur Fellowship, the Whitney Biennial and Documenta X. In the Tower: Kerry James Marshall is on view at the National Gallery in Washington D.C. now.
In Elizabeth Murray’s 1998 BOMB interview by Jessica Hagedorn, the two discuss ordinary objects, domestic novels and what it means to be feminist.
Three paintings, titled A Personal History of Italian Film (numbers 3, 9, and 6) by Carl Palazzolo, accompanied by a reflection on the work from Betsy Sussler.
Bill Arning explores Keith Mayerson’s many projects, from a 1994 retelling of Pinocchio to the illustrated novel Horror Hospital to “iconoscapes” such as his painted depiction of Star Wars’s Death Star.
Dickson’s paintings documented the isolation and the life of Times Square pre-vamp. She and Sylvère Lotringer discuss the suburbs, demolition derby and becoming American.
Stanley Moss reflects on two paintings by the famously obscure landscape painter Wolf Kahn, an artist who stretches the possibility of his sometimes dismissed subject matter.
Artist Matthew Ritchie’s “project”—his paintings, sculptures and website—fuses myth, science and a host of funny-headed characters into a brave, new interactive world.
Two paintings of plaster, acrylic, enamel, and resin on wood panel, titled Josephine and Theresa, by Chuck Agro.