Bobbie Oliver by Mimi Thompson

Part of the Editor's Choice series.

BOMB 108 Summer 2009
BOMB 108

Discover MFA Programs in Art and Writing

Article 4804 ​Bobbie Oliver

Bobbie Oliver, In the Garden, 2008, acrylic on canvas, 63 x 68 inches.

Working for Isamu Noguchi in the 1980s, Bobbie Oliver saw the time this artist took to study a stone before altering it in any way. She extends this temporal knowledge to the painted surface, attracted to paint’s alchemical properties and open to the information that the materials give up when they are ready. Some paintings seem like maps of a mysterious world, others resemble stained walls made beautiful from time and accident. Her method of rubbing, printing, and blotting creates what she calls a “tactile universe,” full of texture and drifting atmosphere. Like the early 20th-century Canadian painters known as the Group of Seven, Oliver responds to the natural world with a heightened sensibility. Her paintings often vibrate with their intentions, full of what Oliver calls “a state of becoming with the potential for self-revelation.” They usually exist at either end of the color scale, like warm and cool Petri dishes, with their organic shapes blooming in washes of pink or blue/green. Time spent in Italy, Pakistan, and India have expanded Oliver’s strategies for addressing abstraction. Memories of their physical landscape and tempo fill her canvas. Pushing “pretty” colors into a strange register, Oliver tosses the organic and synthetic together to create a floating stand-off. Like Willem de Kooning’s announcement that Larry Rivers’s painting was like pressing your face into wet grass, Oliver erases the line between the painted and the paint.

Mimi Thompson is a painter and writer living in New York City.

James Little by LeRonn P. Brooks
464937842 04142017 James Little Bomb 35

“The reward is getting through the tough stuff. And that’s what’s perplexing about the art thing. When I was going to school there were kids that could draw their asses off. There were kids that were better draftsman than me, for certain. But no one was more determined than me.”

Peter Bradley by Steve Cannon, Quincy Troupe & Cannon Hersey
Pbradley Bomb 1

“I don’t want to mention names, but there are several black artists that would like to shoot me today because they weren’t in that show. Some of them are dead, but the ones that aren’t dead still give me a lot of bullshit every time I see them.”

Oral History Project: Stanley Whitney by Alteronce Gumby
​Stanley Whitney

“My work was just like art history; it was all Velázquez, Goya, Cézanne, and Soutine. But when I saw Morris Louis I saw a way into the present.”

Originally published in

BOMB 108, Summer 2009

Featuring interviews with Dawoud Bey, Dike Blair and Joe Bradley, Harry Dodge and Stanya Kahn and Michael Smith, Nam Le and Charles D’Ambrosio, Guy Maddin and Isabella Rossellini, Bill Callahan and Jon Raymond, Pavol Liska and Kelly Copper, and Jacques Roubaud. 

Read the issue
BOMB 108