BOMB 123/Spring 2013
Emmet Gowin’s early works were family portraits; his later photographs, aerial shots of the American heartland, record the beauty and waste of the land. Photographer Sally Gall tracks Gowin’s amazing career.
Artist Laurie Simmons photographs have toyed with our perceptions since 1976. Her show The Love Doll opened February 14th at Salon 94 in the Bowery.
This First Proof contains the photographs Arctic Sun, 1994; Meriden, 1992; and Glass, 1994.
This First Proof contains photographic work by Judy Linn and text by Hilton Als. For copyright reasons this content is available in print only.
This First Proof contains the photo-montage “Over and Out,” photographs on paper. For copyright reasons this content is available in print only.
David Seidner’s photographic work is rooted in his search for the “right moment”—informed by his deep knowledge and appreciation of classical Greek art.
Tina Barney has spent years photographing the upper-class enclave of Watch Hill, Rhode Island. Here she discusses the limits of privacy, the ambiguity of entitlement and the intimate nature of nostalgia.
From the Split Screen Portfolio curated by Robert Nickas—Sam Samore’s Lips. This article is only available in print.
From the Split Screen Portfolio curated by Robert Nickas—Lutz Bacher’s Big Boy. This article is only available in print.
Selection of landscape photography by Sally Gall and April Gornik including works by Gall, Lynn Davis, Mark Klett, Barbara Ess, Lynn Geesaman, and Linda Connor.
Bukit Jati and Glen Coe by Sally Gall, part of the Landscape portfolio selected by Sally Gall and April Gornik. This article is only available in print.
Duraflex photograph Olive Oil Swami by Keith Boadwee. This article is only available in print.
“Awkward moments and mutual hostility” abound in this conversation with artist and provocateur Andres Serrano on his most recent collection of photographs of dead bodies.
Photograph by Robert Melee included in the New Performance portfolio. This article is only available in print.
Two photographs of Warning to Significance Hunters, a roadside performance by Thom Merrick included in the New Performance Portfolio. This article is only available in print.
Untitled piece by Scott Grodesky. This article is only available in print.
Three photographs by Jennifer Sirey included in the New Performance portfolio. This article is only available in print.
Untitled photographs by Chuck Nanney included in the New Performance portfolio. This article is only available in print.
Two photographs of Alix Lambert’s D.I.V.O.R.C.E. taken by Robert Melee and included in the New Performance portfolio. This article is only available in print.
A photograph of a performance, titled Patina du Prey Posing in Poland, by Hunter Reynolds, photograph by Tadeusz Rolke. This article is only available in print.
Three untitled slides, from the Boys’ House project, by Patty Martori. This article is only available in print.
Two photo diptychs La Chambre Nois and Psycho Church?? by Seton Smith. From the project Les gens qui Attendent and Things from Down Under. This article is only available in print.
Painter Ross Bleckner discusses the various representations, transformations and meanings of light in Adam Fuss’s world, translated into his intense photographs.
A mixed media collage of photographs and text, titled Minority Pin-Ups, by Hilton Als and Darryl Turner. Photo sources: Melodie McDaniels and others. This article is only available in print.
Two images, a photograph and a drawing based on it, titled Project for BOMB by Carter Hodgkin. This article is only available in print.
Nan Goldin’s photography never fails to entice, shining with her trademark sensuality and tenderness. She spoke with Stephen Westfall for BOMB in 1991.
A series of portrait photographs, titled An Analysis of Decisions Under Uncertainty, by Miyoshi Barosh. This article is only available in print.
Two untitled photographs of Greece and NYC, by Bastienne Schmidt. This article is only available in print.
Photograph titled Renovation by Rocky Schenck. This article is only available in print.
Untitled photograph with ink by Joe Andoe. This article is only available in print.
