Photographer Andy Freeberg on capturing the comical ironies of art fairs, the fashion choices of the female guards in Russian museums, and the heads of white cube receptionists in Chelsea.
Martha Rosler on the Garage Sale, plights of modern workers, and her college days in California.
Duane Michals on the benefits of skipping art school, becoming an atheist, and his new work, up now at DC Moore Gallery.
A failed interview with the author of The Address Book, available now for the first time in English.
A poignant vision of our country from the great American photographer Edward Weston is on view now at the Museum of Fine Arts, Boston.
What can the superhuman tell us about humanity? Jorge Rojas on curating superHUMAN at Aljira, a Center for Contemporary Art.
Photographer Todd Hido redefines landscape, toys with perception, engaging viewers in a geography as mysterious as it is often misty.
Photographer Berenice Abbott brought motion into the still frame, and brings the visuality of movement to a new show at MIT.
Bellatrix Hubert talks with Legacy Russell about the state of the arts, not being a curator, and the buzz of her recent Hummingbird.
Sara Greenberger Rafferty creates fissures and tears in the realms of photography and sculpture.
Rachel Mercer on the stark and moving photography of Rineke Dijkstra, now on view with a retrospective at the Guggenheim Museum.
Photographer iO Tillett Wright looks back to her first image and the varied alphabet of sexual identity she’s captured since.
Iris Cushing speaks with the artist/poet couple, Marina Temkina and Michel Gérard, about their new book Who is I?
Moyra Davey’s been included in the 2012 Whitney Biennial and has an exhibition opening at the end of this month. Here, a pause for a portrait of the artist.
Uta Barth brings a new meaning to close looking.
Invented by Ryder Ripps, DUMP.FM is an online image-share platform with the rising reputation as one of the primary breeding grounds for young digital artists. One of them is Glass Popcorn. And he needs a date to the dance.
Julia Solis has made a livelihood exploring what lurks beneath the surface of structures across America and around the world.
Kari Adelaide reflects on the site and exhibition at the New York Public Library that explores Frederic Church’s art and life through photography.
David Goodman reflects, in this photo essay, on the playground that was Miami Art Basel.
Photographer Amy Elkins peers through the lens of masculine identity into the eye of a high-contact sport with a new show at Yancey Richardson.
Billy Name speaks with photographer David Shankbone about hacktavism, Wikileaks, and the cultural revolution of new media.
Kevin Kinsella discusses the photography exhibition, Boris Mikhailov: Case Study.
Alyssa Kilzer speaks with Cole Rise, a photographer whose work achieves both surreal and cinematic qualities.
Photographer David LaChapelle touches on his diverse origins, what makes a subject natural, and his complex relationship with Christianity. His work is showing at Lever House in New York City.
Jennifer Rodriguez speaks to photographer Beowulf Sheehan, the man behind the camera for the New York Public Library’s beautiful book Know the Past, Find the Future.
It’s been two years since the last odd numbered year, and you know what that means—it’s almost time for the Venice Biennalle! Check out our handy BOMB guide to exhibition’s offerings.
Industry muted, architecture diminished—Daisy Atterbury dips into the quietly dreamlike world of Brazilian Photographer Tuca Vieira’s nocturnal Berlin.
In their ongoing column, poets Rebecca and Leah discuss the meaning of “wild” in response to both a photography exhibit of the horses of a remote Canadian island and a reading given by Jonathan Franzen and Jhumpa Lahiri.
In a new ongoing BOMB column, two poets head out on the town on a mission to map—and mine—the creative arts community of New York City, for inspiration, celebration, and collaboration, through parties, openings, readings, and more.
Creativity in the wake of violence—Nilu Izadi utilizes the bullet holes on Beirut’s historic landmark Yellow House as apertures for an actual camera obscura. She speaks to Christina Eberhart about growing up in England with ties to Iran.