BOMB Specific by Carrie Moyer

BOMB 108 Summer 2009
BOMB 108

Discover MFA Programs in Art and Writing

Moyer 1 Body

Mantrap, 2009, taped paper collage, 5 × 5”. All images courtesy of the artist and CANADA, New York.

For the past several years, I have been looking for forms that are nearly representational, that hover somewhere between abstraction and figuration, and generate the preliterate force of the Venus of Willendorf. I troll the web, bookstores, and museums looking for ritual vessels, sculptural prosthetics (headdresses, masks, armor, and weapons), and ethnographic oddities that can be morphed into fearsome and/or sexualized silhouettes. Recently I’ve found myself transfixed by Oceanic, Inuit, and preColumbian objects, similar to those collected by André Breton and the Surrealists. Is the world really such a finite place, filled with a fixed (and paltry) number of things to look at? Or am I susceptible to the same aesthetic charms that so radicalized the early modernists nearly a century ago? This thought, with its insinuations of cultural myopia and art-historical patrimony, both horrifies and delights me.

These days I start work by making small collages based on shapes preloaded from a long-accumulated image bank. The black-and-white taped paper collages become the genesis for large paintings. For BOMB Specific, I’ve sprinkled digital fairy dust onto these altogether modest works to bring them closer to the paintings they inspire.

Moyer 2 Body

Torch, 2009, taped paper collage, 8 × 4”.

Moyer 3 Body

Barbute, 2009, taped paper collage, 7 × 4”.

Moyer 4 Body

Rapa Nui Smashup, 2009, taped paper collage, 5 × 3-1/2”.

Moyer 5 Body

Today’s Woman, 2009, taped paper collage, 5 × 3-1/2”.

Rochelle Feinstein by Justin Lieberman
Theestateofrochelle Final Body
Michele Araujo by Lisa Cohen
Araujo 01

In one painting, I am picked up and drawn into a wild weather event, a storm of color, wind, and light.

Samuel Jablon by James Hyde
Jablon 2

With exuberance, Jablon’s paintings tell the story of their own making. They are what they are by showing how they got there and how they take up their subject—and that subject is text.

Wendy White by EJ Hauser
White 4 Body

In Chinatown, NYC, where Wendy White lives, new signs go up over outdated signs, new awnings are installed over old ones, graffiti is painted over, windows become walls, additions are built, architecture is modified, buildings disappear … White has become a connoisseur of these visual shifts.

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