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.
David Antonio Cruz talks about his journey from performance to painting and his new opera, TAKEABITE.
Colm Tóibín and Miquel Barceló on Walt Disney, looking like animals and when painting is better than real life.
Michael Ricioppo and Drew Liverman on liberation through collaboration, the needs of a picture, and the pros and cons of paint.
Maier and Day Jackson reflect on their most recent large-scale projects and on their shared interest in territory and space exploration.
Pablo Helguera on his love of used books, dying languages and his conceptual approach to captioning an image.
A.K. Burns on the queer body, slipping between forms, American fetishes, and becoming a cyborg.
Andrea Ray speaks to Matthew Buckingham about 19th century sexual freedom, the caring economy and her recent exhibition, Utopians Dance.
Watch Circuit (2013) from Amie Siegel’s exhibition Provenance.
BURNAWAY Magazine’s Rachel Reese visits Steven L. Anderson’s studio to discuss the Deleuzian escape nature offers, and the ethical guidelines to channeling power through art.
Video artist Michelle Handelman discusses vampire jewel thieves, censorship, and re-interpreting The Picture of Dorian Gray.
Painter (and Psychedelic Furs frontman) Richard Butler on Warhol, passing “the bedroom test” and why his daughter is his muse.
BOMB visits Steve Roden and Stephen Vitiello at Governor’s Island to discuss Cagean concepts of silence, harmonizing with the outside world and listening to mimes.
Eli Kezler on endless installations, raw composition, and the spatial limitations of large-scale art.
Daria Irincheeva, the former director of Family Business in Chelsea, on post-Soviet disillusionment and why New York isn’t the best place for experimentation.
Rubens Ghenov and Dona Nelson discuss the Philadelphia art scene, Portuguese vowels, and Fellini versus Cocteau.
Titillating and nausea-producing? Certainly. Transgressive? Maybe. Forrest Muelrath reviews Paul McCarthy: WS at the Park Avenue Armory.
Michael Craig-Martin discusses “Young British Artists,” the secret souls of art students and why the 1990s felt a lot like the 1960s.
Radcliffe Bailey on artistic and regional labels, testing his own DNA, aging, and the power familial ancestry holds on his practice.
Tribble & Mancenido on nature as an artistic medium and the mythical reality of their year-long venture into trucking.
Dannielle Tegeder discusses the “death of painting” in the digital era and why her upcoming exhibition at the Wellin Museum of Art is a more media-integrated project.
Alice Aycock looks back on her early influences and gives insight into her creative process.
Karen Rester reviews the first museum exhibition of Martin “Kippy” Kippenberger’s work in Berlin, considering his playful legacy in this new context.
Elaine Lustig Cohen on the late Alvin Lustig and the art, and archiving, of the book jacket.
BOMB founder Betsy Sussler talks to painter Eric Fischl about his new memoir Bad Boy: My Life On and Off the Canvas.
Andrew Lampert reviews Between Artists, a sprawling and insightful dialogue between experimental artist-filmmakers Thom Andersen and William E. Jones.
Sillman’s first museum survey opens at the ICA Boston this October.
Carl Hazlewood’s photography, installations, and constructions are both solid and sensuous, poetically exploring what it means to be “culturally black” in today’s society.
A new book, Beyond Process, by Susan Richmond, examines the “specific objects” and artistic antics of Lynda Benglis, whose complexity and risk-taking defied convention.
Anfang Gut. Alles Gut. takes on the task of reimagining Russian Futurist opera without the burden of nostalgia.