Katie Bell by John O'Connor

For the past year I’ve worked in a studio adjacent to Katie Bell’s, at the Marie Walsh Sharpe Foundation. 

BOMB 121 Fall 2012
BOMB 121

New York Live Arts presents

Marjani Forte
Nov 15-19


506974918 07172015 Katie Bell 01 Bomb 121

A Night’s Mission, 2012, wood, foam, plastic, carpet, paper, glue, rope, drywall spray, linoleum, and acrylic on wall, 14 × 12 × 4 feet. Photos by Carly Gaebe. Images courtesy of the artist.

For the past year I’ve worked in a studio adjacent to Katie Bell’s, at the Marie Walsh Sharpe Foundation. It’s been thrilling for me to watch her work evolve over this period of time. The following piece is my attempt to illuminate Bell’s current processes through a collage of texts that are pertinent to her work.

Delayed reactions allow for the Fermentation theory
Delayed reactions thrive in a warm Fermentation theory
In hot tubs reactions thrive in a warm Fermentation theory
In hot tubs reactions thrive in a warm wet environment
In hot tubs many organisms thrive in a warm wet environment
In hot tubs many in the gap thrive in a warm wet environment
In hot tubs many in the gap thrive in a warm wet life
I try tubs many in the gap thrive between art and life
I try to act in the gap between art and life
I try to act in a transparent lid between art and life
I try to act in a transparent lid between art and lingerie
The cabinet act in a transparent lid between each shelf and lingerie
The cabinet with a transparent lid between each shelf and lingerie
The cabinet with a transparent lid for each shelf is excellent for lingerie
The cabinet with a transparent artist for each shelf is excellent for lingerie
The cabinet with a transparent artist for each shelf is excellent of courage
I try to be a transparent artist for each show is excellent of courage
I try to be a truthful artist for each show is excellent of courage
I try to be a truthful artist and show a level of courage
I try to be a truthful limestone and show a level of courage
I try to be a truthful limestone and show a level of the pyramid
A higher to be a truthful limestone and show the outer level of the pyramid
A higher-quality limestone was used as the outer level of the pyramid
A higher-quality limestone was used as the outer casing of the pyramid
A higher-quality limestone was crucial as the outer casing of the pyramid
We assert quality limestone was crucial as the outer casing is valid
We assert quality the subject was crucial as that subject casing is valid
We assert that the subject was crucial as that subject matter is valid
We assert that the subject is crucial and only that subject matter is valid
We assert that the subject is not contradictory and only that subject matter is valid
We position that the subject is not contradictory and only that subject matter is valid
The position that the subject is not contradictory and a capitalist system is valid
The position that the subject is not contradictory in a capitalist system is valid
The position of core capitalists is not contradictory in a capitalist system
The position of core capitalists in the painter’s contradictory in a capitalist system
Supreme artifice of core capitalists in the painter’s contradictory in a capitalist system
Supreme artifice of core capitalists in the painter’s contradictory in deliberate misappropriation
Supreme artifice of core capitalists comes in the painter’s love of deliberate misappropriation
Supreme artifice comes in the painter’s love of deliberate misappropriation
Supreme artifice comes to the simplicity love of deliberate misappropriation
People are also artifice comes to the simplicity love of deliberate faux finish
People are also artifice comes to the simplicity of changing a faux finish
People are also attracted to the simplicity of changing a faux finish

158655224 07172015 Katie Bell 02 Bomb 121

Tear Peak, 2012, acrylic, vinyl, plaster nails, wood, drywall, foam, laminate, and vertical blinds on wall, 6 1/2 × 10 feet.

234594612 07172015 Katie Bell 03 Bomb 121

Day Duster, 2012, acrylic on stretched fabric, metal, and wood, 36 1/2 × 56 inches.

140765069 07172015 Katie Bell 04 Bomb 121

Blue Eyes, Heavy Bluffs, 2012, acrylic, fiberglass, wood, linoleum, towels, plaster, foam, tape, cinder blocks, and faux geode bookends, 12 × 8 x 11 feet.

John O’Connor is an artist in New York City.

Cordy Ryman by Stephen Westfall
Gluebox Body
Related
Sarah Sze by Judith Hudson
63 Sarah Sze 1

Sarah Sze pulled back the skin of a wall at PS1 and ripped out its guts. She created a pulsing, dripping universe precariously holding onto life like a dissected frog. 

Portfolio by David Gilbert
Gilbert Email 0637

Suburban sprawl and craft-store spree meet creeping apocalyptic bleakness.

Tamara Zahaykevich by B. Wurtz
4 Harry Goody Body

Mies van der Rohe’s statement “God is in the details” came to mind recently as I was thinking about Tamara Zahaykevich’s work.

Originally published in

BOMB 121, Fall 2012

Featuring interviews with Miguel Gutierrez and Ishmael Houston-Jones, Haim Steinbach, Carolyn Cantor and Amy Herzog, Ben Chasny and Sir Richard Bishop, Kurt Andersen and Susanna Moore, Edith Grossman and Jaime Manrique, Lucy Raven, and Josiah McElheny.

Read the issue
BOMB 121