BOMB 124/Summer 2013
This First Proof contains five sculptures by Tom Butter with a reflection on the work by Mark Magill.
Several photographs of sculptures of wood, aluminum, rattan, and Twaron, titled Arena, National Chain, and Toyota, by Rita McBride, with text by Mimi Thompson. This article is only available in print.
Two stills from videotapes, Color Wipe and Animation II, and two large sculptures with neon light, from the Cat Doucet series, Depose and Atchafalalya by Keith Sonnier—written reflection by Betsy Sussler.
Poet and curator Goran Tomcic and Slovenian sculptress Marjetica Potrč on displacement and the genius loci.
Saul Ostrow on Glen Seator’s tilted, full-size replicas of an office and bathroom, N.Y.O.& B.
Philosopher David Carrier has a special understanding for sculptor David Rabinowitch’s influences: Hume, Spinoza and Wittgenstein. Based on an interview, a text on philosophy, sculpture and Rabinowitch’s methodology.
Keith Tyson explains his “Artmachine” computer program, which pulls pieces of information from a reservoir of different sources and matches them at random to create project proposals which are then considered for construction.
Speaking through materials, Joshua Neustein recalls cultural memory and history. His elegant and earthy installation Light on Ashes does just this.
Ben Kinmont’s breakfast-based artwork, Waffles, and uncatalogued archive boxes prompt reviewer Bill Arning to consider how social sculpture manifests itself in the world outside the museum.
Artists Kiki Smith and Barbara Bloom wander through the thought processes that separate the compelling from the mediocre, the public from the private. Bloom’s show As it were … So to speak is at the Jewish Museum now.
Sculptors Charles Ray and Paul Dickerson go beyond studio talk in a peripatetic stroll through museums, lunch at the Carlyle and a cab ride.
Felix Gonzalez-Torres joins Roni Horn in the exhibit Paired, Gold at the Guggenheim through 1/6.
An installation view of Spring by Petah Coyne. This article is only available in print.
Green on the Outside, Red on the Inside, by Meyer Vaisman, with text by Carlos Brillembourg. This article is only available in print.
Two sculptures, titled Coat (Inquisition) and Perculator, by Ann Messner. This article is only available in print.
Legendary artists Kiki Smith and Chuck Close finally “nail down” their ongoing conversation for BOMB, one that veers between physicality and spirituality, much like Smith’s work.
From the Split Screen Portfolio curated by Robert Nickas—Cady Noland’s Your Fucking Face. This article is only available in print.
The Brazilian sculptor on the notion of taste, the concept of kitsch, and the rejection of traditionalism, with artist Shirley Kaneda.
Verging on the invisible, Pae White’s sculptural work and installations question use and value in provocative ways so that art making isn’t just about the process, but looking.
Luciano Perna delves into his interest in creating “drugless hallucinations”; he achieves this as his use of common materials translate into new shapes and forms.
In conversation with David Pagel, Buzz Spector pins down the meaning of nostalgia and the persistence of revolutionary ideas through it.
Photographer David Seidner talks to the master of sculpture, Richard Serra, whose work continues to be honored and comprehensively exhibited throughout the decades. Two of his sculptures will be on view at the Gagosian Gallery on Chelsea 10/27–12/23.
Jessica Stockholder and Stephen Westfall engage in a theory-heavy discussion about her work.
Artist Michael Jenkins discusses with gallerist and BOMB Contributing Editor Bill Arning how early psychological experiences condition our reaction to artistic images.
Metal, wood, and glass sculpture, Mantle, by Tom Brokish. This article is only available in print.
In his material language, Leonard Bullock composes bits of found objects to speak to their origins.
Richard Prince quizzes the legendary architect and installation artist Vito Acconci on everything from pornography to childhood memories to films that make him cry in this fast-paced, in-depth interview from 1991.
Assemblage, Bricollege, and the I: Saul Ostrow and David Pagel interview three women artists.
Three creative sculptures, Work Station #6 (envy), Come Armageddon, and Untitled by Nayland Blake. This article is only available in print.
Just beneath the surface of the familiar is where you’ll find the wit that is distinctively Jo Shane’s. In irony, she finds power and voice for her passions.
