BOMB 119/Spring 2012
Poet and essayist Kristin Prevallet talks to artists caraballo-farman about their series The Heirloom Plates, part of the exhibition Iran Inside Out at the Chelsea Art Museum through September 4th.
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 and the giant beehive-like installation that is currently being created there. Washburn works with two-by-fours and other materials found on the street and in past installations.
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.
Ursula Davila-Villa discusses the minimalist work of Jac Lernier as well as the publication of her conversations with Adele Nelson.
A tribute to the late British-American abstract painter from one of BOMB’s founders.
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.
Zoe Leonard: You see I am here after all (2008) documents the artist’s two-and-a-half year Dia installation while expanding upon the art of mechanical reproduction.
In homage to 80’s cult band Felt, artists Christian Flamm and Mike Sperlinger crafted an encompassing, investigative fanzine of a book.
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.
A review of Carlos Cruz-Diez in Conversation with Ariel Jiménez, a book that chronicles an encounter between Venezuelan critic Ariel Jiménez and his countryman artist Carlos Cruz-Diez.
Seen, Written is filled with fluid and poetic dissertations on a wide range of artists and their work, standouts among them the essays on Carroll Dunham, Brice Marden, and Louisiana shaman Keith Sonnier.
Michael Schmelling made a book called Atlanta, a photo book about the Atlanta hip-hop scene. Then Richard Maxwell wrote a review of it.
According to William Corwin, “Michael Ballou distrusts traditional art world classifications,” one reason to check out his work at Maurizio Cattelan’s Family Business Gallery starting March 27.
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.
The artist Josiah McElheny has published two books that display his collaboration with artists, scholars, scientists and creative writers, offering a multitude of voices, speculations, fictions, and facts.
This Editor’s Choice contains Stuart Horodner’s review of Blind Handshake, a compilation of David Humphrey’s writings about art alongside reproductions by more than 100 artists.
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.
