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.
Pettibon on the great American trio of Manson, baseball, and surfing. His work on view now at Sadie Coles HQ in London.
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.
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.
For Kerry James Marshall, 1997 was a good year: a MacArthur Fellowship, the Whitney Biennial and Documenta X. He spoke with Calvin Reid about the future of painting. Black Romantic is on view at Jack Shainman Gallery until July 3rd.
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.
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. This article is only available in print.
A glass a day, every day…An artist’s obsession: the act of painting.
Racing thoughts: Artist and poet Marjorie Welish speaks to the legendary painter on the eve of his Fall 1996 retrospective at the Museum of Modern Art.
Saul Ostrow on Thomas Nozkowski, an abstract painter interested in the diversity and indeterminacy rather than the limitations of his much discussed medium.
Malcolm Morley discusses growing up in London during the war and making realism abstract with Richard Francis. A new show of Morley’s monotypes opens at Sue Scott gallery on January 11.
Jo Baer is the featured artist at The Artist’s Institute, where her abstract minimalism is paired with the spastic eroticism of Anne-Mie Van Kerckhoven through May 22nd. Baer spoke to Linda Boersma in BOMB in Fall 1995.
Two paintings evocative of the allegory of the cave, titled Tree Shadows and a detail of the Arrangement by Ena Swansea.
Two works on paper, titled Transplant One and Two by Elliott Green, accompanied by text from Saul Ostrow.
Francine Prose, author of the novel Hunters and Gatherers, delves into realism and the real act of painting time with figurative painter Catherine Murphy.
Two acrylic paintings on linen, titled The Secret Charts—Fig. Y, and The Secret Charts – Fig. P, by Tom Woodruff. This article is only available in print.
David Pagel attempts to crack the feminist, violent and “slightly off-kilter” world of Kim Dingle and her paintings and installations.
Painters Chuck Close and Lisa Yuskavage take a psychological glimpse at white trash, individual struggle and artifice.