BOMB 123/Spring 2013
Susan Hiller’s Secrets of Sunset Beach from her 1987–90 photoseries.
Two photographs of serene, water-filled landscapes, Patrick and Amazon by Sally Gall. This article is only available in print.
Photograph of two women at a table, Javotte and Katherine, Paris ’90 by Allen Frame. This article is only available in print.
Piece installed at the Bradbury Building in Los Angeles, Cymbals by Linda Rousch. This article is only available in print.
India ink and silver print of a partly cloudy sky, Light Journey, Dusk by Emery Clark. This article is only available in print.
Five photographs: Legs, Paris, Nude Study I, Paris, ESNA, Egyptian Stomach, Nude Study III, Paris and Nymphenburg, Black Pool by Erica Lennard. Portfolio assembled by April Gornik.
Larry Sultan’s home movie stills are the basis of an ongoing project that documents the American Dream and delves into the relationship between photography and temporality.
Sarah Charlesworth’s solo show opens May 7th at Susan Inglett. Her work is also featured in “The Pictures Generation” at the Met.
Marvin Heiferman talks about co-curating his show Image World.
Two photographs, No Room For Squares and I Feel the Goodness Going Out of Me, by Elliott Schwartz.
C-Print, titled Imprese, from the series From Near and From Afar by Olivier Richon. This article is only available in print.
An albumen print, titled Rivaulx Abbey, Interior of the Choir, by Philip Henry Delamotte and Joseph Cundall. This article is only available in print.
Eagle Mound Earthworks, Newark, Ohio, 1985, by Suzanne Williamson.
A set of stop-motion photographs capture a full swing taken by baseball star Dave Winfield, David Mark Winfield by Susan Grayson. This article is only available in print.
Bouira photograph, Standard Wait (silent C for MD) by Alan Scarritt. This article is only available in print.
Two photographs by Adam Fuss, Untitled and Language of Echoes (detail). This article is only available in print.
A fascinating discussion between long-time BOMB contributor Gary Indiana and the late Robert Mapplethorpe on the New York art scene of the late 1980s and the difficulties of intimacy, comfort and eroticism in photography and portraiture.
Two photographs, Untitled (After Alexander Rodchenko 4), by Sherrie Levine. This article is only available in print.
A black and white photograph, titled Dystopia, by Orshi Drozdik. This article is only available in print.
Photograph, titled Site of the First Self-sustaining Controlled Nuclear Chain Reaction December 2, 1942; Chicago, Illinois, by James Welling.
Silverprint, titled Lovers, by Adam Fuss. This article is only available in print.
Photographic portfolio curated and introduced by Roberto Juarez. This article is only available in print.
The Famous Weegee, self proclaimed perfectionist and maverick photojournalist, talks about humanizing a sad news story by photographing chaotic street scenes and taking portraits of grieving family.
Silver print, titled Urban Asteroids (Dimensional Abstraction), by Todd Watts. This article is only available in print.
Vintage gelatin silver print, Solarization—L’etat Combat (Combat State), 1937 by Raoul Ubac. This article is only available in print.
Two portrait photographs from the Artist Project, Alphaeus Cole and Robert Gwathmey, by Peter Bellamy. This article is only available in print.
Six Polaroid photographs, capturing “The End” frames of films, from the Body Pictures portfolio. This article is only available in print.
Two untitled photographs, 1985–86, by Noelle Hoeppe. This article is only available in print.
Two silver print photographs, Nature Morte and La Fin du Siecle, C’est pour demain . . ., by Mattia Bonetti. This article is only available in print.
Two untitled photographs, 1985–86, by Matt Mahurin. This article is only available in print.
