Remembering: Keith Sonnier by Betsy Sussler

BOMB 59 Spring 1997
Issue 59 059  Spring 1997

Discover MFA Programs in Art and Writing

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Keith Sonnier, still from Color Wipe, 1973, color videotape, 30 minutes with sound. Peformed by Tina Girouard.

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Keith Sonnier, Depose, Cat Doucet Series, 1996, mixed media with argon and electric light, 56 x 30 x 18 inches. All images courtesy the artist and Leo Castelli Gallery.

Calligraphy drawn from the age of satellites beaming and technology blaring, Keith Sonnier’s sculptures, urban neon and country trash, fuse the detritus of popular western culture with the suggestiveness of eastern imagery. Best known for his neon sculptures, Sonnier also pioneered early video art and installation which captured the razzmatazz of our new found infatuation for digital dreaming. Vertical roll, black, neon and strobe light; dancers, musicians, computer language, television broadcast and satellite transmission form the visual and aural vernacular of his tapes and films, recently gathered under the title, Channel Mix.

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Keith Sonnier, Atchafalalaya, Cat Doucet Series, 1996, neon, argon lighting, steel, 80 x 48 x 9 inches.

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Keith Sonnier, Animation II, 1974, ¾ inch color videotape, 25 minutes with sound.

Aesthesipol: Keith Sonnier by Betsy Sussler
Keith Sonnier 02 Bomb 03
Ed Atkins by Terence Trouillot
Ed Atkins Bomb Magazine 01

Like his older compatriot Mark Leckey, Atkins deftly utilizes syncopated montages of sounds and filmic images to create disturbing and disorienting virtual realities.

Looking Back: BOMB on the Past Decade in Art
Kanishka Raja Final

With contributions from Naeem Mohaiemen, Martha Rosler, Devin Kenny, Swoon, and more.

Joana Hadjithomas & Khalil Joreige by Jessica Hong
Hadjithomas And Joreige Bomb 6

“A good part of our work is about giving materiality to things that aren’t visible.”

Originally published in

BOMB 59, Spring 1997

Featuring interviews with Tim Roth, Amy Hempel, Emmylou Harris, Matthew Ritchie, Wallace Shawn, Christian Wolff, Gilles Peress, Kendall Thomas, and George Walker.

Read the issue
Issue 59 059  Spring 1997