BOMB 123/Spring 2013
Aki Onda’s body of work is an investigation of sound’s place in the tactility and visuality of a three-dimensional world. Watch an excerpt from a performance by Onda and filmmaker Paul Clipson.
Iraqi Artist Ahmed Alsoudani discusses the dichotomy behind Gunther Uecker’s intense and provocative installations.
Poet Kim Rosenfield chronicles her encounter with Erica Baum’s evocative “Naked Eye Anthology.”
Ellen Berkenblit examines the playful elements and limitless boundaries of Dasha Shishkin’s drawings.
Weinrib describes the intensity of her encounters with Howe’s shifting, evocative, figurative paintings.
O’Connor reflects on the sculptural work of Katie Bell with a collage of text and color.
Gornik on the work of painter Winton, whose central elements she says include mystery, eccentricity, and compassion.
Lieberman and Guagnini on self-hatred, narcissism, criticism, and the possibility of transformation.
Filmmaker and curator Lampert on filmmaker Price and his recent works on display at the Whitney Biennial.
Artist Ryan Johnson on sculptor Sheila Pepe’s obsession with shoelaces and her technique of “improvisational crochet.”
Painter Alexander Ross on the perplexing, serpentine, visual complexities of Daniel Wiener’s sculpture.
B. Wurtz on the ability of Tamara Zahaykevich’s small-scale, handmade sculptures to draw out the details of daily life.
WEB EXTRA VIDEO Artist Pedro Reyes talks to Terence Gower about his lecture video New Utopias which investigates utopian fantasies from Funkadelic to Jacques Demy to Sun Ra. Watch an exclusive clip.
Artist and musician Stephen Vitiello on the cerebral, imaginative responses of Jennie C. Jones to the “the physical residue of music.”
R. M. Fischer’s reinvented style nods towards variable textures, visible seams,floppy vinyl, and a wide variety of fasteners. Artist Daniel Wiener finds the new work inspiring for the future of sculpture.
Abby Goldstein describes the studio of Phoebe Washburn, whose new work can be seen at Josée Bienvenu Gallery through October 27.
Jimbo Blachly and Lytle Shaw are the editors and guardians of an archive full of experiences and paraphernalia belonging to the elite-though-fictitious Chadwick family. An exhibition of the archive is currently on display at the Winkleman Gallery.
Andrea Blum’s sculpture work rises above the plane of mere physical and material existence. Pamela Lins discusses these interactive and psychogeographic pieces.
Mimi Thompson profiles Rachel Hovnanian, an artist who hauntingly represents beauty at its most chilling in the form of sculptures, photographs, paintings, and narcissus petals.
Writer John Haskell discusses artist David Shapiro’s Money Is No Object, an autobiographical show in which receipts, bills, and ticket stubs collected by Shapiro over the course of a year are reproduced by meticulously by hand.
Steve DiBenedetto analyzes the psychedelic and nonconformist tendencies of painter Michael Williams.
Jorge Queiroz’s drawings are caught somewhere between dream-state and linear reality. New York artist Emilie Clark questions the multivalent act of seeing them.
Check out 2 exclusive videos by Rona Yefman! For 14 years, Israeli artist Yefman has chronicled the gender transition of her sibling, Gil. In the new issue, video artist Michel Auder interprets the works’ chaotic, familial boundaries.
Check out two exclusive videos from the collaborative artists and then read their discussion with Craig Kalpakjian, featured in Issue 115.
Recent works by Michael Ballou have a solid practicality, but verge on the enchanting and sinister. Ballou has altered three spaces in the Brooklyn Museum with site-specific installations, on view though July.
In her recent video series, Folklore, Patricia Esquivias presents narratives of recent Spanish history segmented by connections and musings of her own.
Monika Baer’s paintings combine deliberately rendered images, often suggesting the humorous, with slurred areas that seem like a calculated concession to impulse.
Stephen Westfall inspects the typical Cordy Ryman sculpture discovering it to be a seemingly autonomous entity complete with its own agency and the ability to miraculously self-propagate.
Ed Halter on Andrew Lampert’s ability to combine the documented and the live in a way that insists on the imediancy of cinema as an event.
David Van der Leer on design collective Futurefarmers, whose project Shoemaker’s Dialogues will be at the Guggenheim in New York City from May 4th through the 14th.
