Christopher Cozier on Nicole Awai’s elastic concept of history, culture, and perspective.
Paul McCarthy’s radical approach has not been diluted over a lifetime of factory-like levels of production. His work is currently at Hauser & Wirth in New York City.
Jesse Reiser and Nanako Umemoto are renowned for both built and unrealized projects, from the small to the very large. Their unique designs focus on the relation between architecture, territory, and systems of distribution.
Thomas Nozkowski on how Richard Rezac’s sculptures manage to balance eccentricity and concept with accessibility and familiarity.
Tom Sachs has polarized critics since he made his first rifle out of a spring loaded sledgehammer. His new work is at Sperone Westwater through December 17.
Robin Greely on how Jorge Pineda’s sculptures utilize found objects to reflect sexual, social, and political trauma and discontent.
Orlando Hernandez on how controversy and time in prison shaped the art and career of Angel Delgado.
Maria Elena González’s sculptures describe a confrontation between architecture and memory—of built and remembered identity.
The work of Cuban artist Carlos Garaicoa has evolved from a utopian project for the future to a set of pieces with a more defined relationship to the discipline of architecture—one concerned with actual social and cultural problems in Cuba today.
The Frances Dittmer Series on Contemporary Art. Petah Coyne constructs waxen sculptures that hang like chandeliers from ceilings and walls. Her photographs of brides emote a kind of decadence that comes from wisdom, not youth.
Glen Seator’s sculptures have been called “desiring-machines”; they are replicated exterior and interior spaces, fragments or full rooms, skewed or not, all of which have a history: social, political and poetic.
Jeremy Gilbert-Rolfe on the formalism and politics Liz Larner’s colorful, postmodern sculptures.
An international artist influenced as much by Schwitters, Rimbaud and oracular chance as by the effusive culture of Brazil, Tunga’s art is both intellectually compelling and mysterious.
The clever constructions of Los Carpinteros, a trio of Cuban artists who work collaboratively, have been showing up all over the place. In a serendipitous moment, writer Trinie Dalton sits down to talk with the itinerant Carpinteros.
The Frances Dittmer Series on Contemporary Art. An artist whose work sits most comfortably in the streets, Graciela Sacco is also a professor of theoretical issues in 20th-century Latin-American art.
George Fifield on the whimsically off-kilter anatomy of Rona Pondick’s sculpture merging human and animal forms in a comment on the twisted imagination behind genetic engineering and the psyche.
Tolle—known for his meticulous replications of historical objects—has a new show titled Commander in Chief up at CRG Galleries from October 11 through November 10.
George Negroponte writes about the sculptures of Matthew Bliss in the 20th Anniversary issue of BOMB.
Giovanni Rizzoli on the Pop art-influenced, gem-adorned sculptures of John Torreano.
Andrea Zittel utilizes design as a tool with larger-than-life goals that merge fantasy, biology, and the built world to produce such projects as curvilinear “escape vehicles.” She currently has a piece on display at the Indianapolis Museum of Art.
Since 1996, Venezuelan conceptual sculptor José Gabriel Fernández has been exploring the bullfight and its performative star, the matador.
Brazillian artists Vik Muniz and Valeska Soares both live in New York. They discuss the permeability of borders; the resilience of memory and various architectural forms—the maze, the garden and the folly—as metaphors for desire.
Kathleen Goncharov on Giovanni Rizzoli’s metaphor-heavy, deeply personal mixed-media pieces.
One of the forerunners of American Minimalism, the painter and cultural innovator talks to BOMB’s art editor, Saul Ostrow about his life’s work; art that traces the second half of the twentieth century.
Carlos Brillembourg on the humor-filled, socially-focused mixed media installations created by José Antonio Hernandez-Diez.
Ernesto Neto’s art, formal abstraction in the shape of sexy biomorphs, might seem an oxymoron. Curator Bill Arning and the Brazilian artist address the dichotomy of rigorous pleasure.
Judy Pfaff’s work brings nature and art together emphatically: 65–foot fallen cedars and bronze. Pfaff was just elected to the American Academy of Arts and Sciences.
Yayoi Kusama’s enigmatic depiction of infinite space, Fireflies on the Water, is at the Whitney beginning June 13. Kusama spoke with Grady Turner in BOMB 66 in 1999.
Janine Antoni has a show at Luhring Augustine starting 9/12. Stuart Horodner joins Antoni to test the limits of significance, of lard, chocolate and polysomnograph machines in this 1999 interview.