Nick Stillman

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Disco Patrick & Patrick Vogt’s Disco by Nick Stillman
Vogt Disco Bomb

In the New York of a decade ago, the square inches of blue eye shadow, lip-disappearing moustaches, and ludicrously suggestive grapefruits dotting the pages of Soul Jazz Record Publishing’s history of disco record covers were still easily plucked from dollar bins and discarded curbside stacks.

September 11, 2001 (Please Stop Saying 9/11) by Nick Stillman
Christopher Saucedo 01

Nick Stillman points to Christopher Saucedo’s September 11, 2001 (Please Stop Saying 9/11) as an example of artistic retrospective through portraiture and branding.

Clifford Owens by Nick Stillman
Owens 03 Body

Clifford Owens spent the summer performing scores written by fellow artists at his PS1 studio. With Nick Stillman he looks back at the history of black performance art and forward to his MoMA exhibition Anthology.

Wacky Packages New New New by Nick Stillman
Stillman 01

A more brutal pop-art sensibility was taken up by the artists who designed the decals sold by the Topps Company’s Wacky Packs in the late ’60s.

Hans Fallada’s The Drinker by Nick Stillman
Article 4823 Fallada Back Desk Copy

Originally published posthumously and recently reprinted by Melville House, The Drinker is Hans Fallada’s brutal account of provincial German shopkeeper Erwin Sommer’s loss of a business client, refusal to admit this to his wife, lightning-fast descent into sordid alcoholism, and incarceration in prison and an insane asylum.

Luis Molina-Pantin’s Narco-Architecture and its Contributions to the Community by Nick Stillman
Luis Molina Pantin 01 Bomb 110

Posing as a real estate photographer, Venezuelan artist Luis Molina-Pantin took photographs of gaudy buildings built with drug money.

Peter Greenaway’s Rembrandts J’ Accuse at Film Forum by Nick Stillman
J Accuse1 Body

“I’m fascinated by the idea of a film as an exhibition, and the exhibition as a film,” the director Peter Greenaway said in this 1997 BOMB interview.

Regina José Galindo at Exit Art by Nick Stillman
Article 4311 Galindo1

Pretty arresting stuff from Guatemalan performance artist Regina José Galindo at the opening of her terrific retrospective Friday night at Exit Art.

Harold Falckenberg and Peter Weibel’s Paul Thek: Artist’s Artist by Nick Stillman
Article 4827  Thek Fishman

Officially Paul Thek died in 1988, but really he died twice.

Dread Scott by Nick Stillman
Dread Scott 1

Scott’s provocative work challenges pedestrians in Philadelphia’s bustling Logan Square to consider the fate of local high schoolers will be on view through November.

Lynn Saville by Nick Stillman
Under The Manhattan Bridge 1 600X481 Body

For years, Lynn Saville has photographed cities at night.

Trevor Paglen’s Blank Spots on the Map by Nick Stillman
Article 5749  Trevor Paglen

Ten years ago, during my first ever trip to Long Island, I was arrested in Montauk for federal trespassing.

Ei Arakawa: TSRA by Nick Stillman

In this week’s Video Art feature, artist Ei Arakawa teamed up with BOMB managing editor Nick Stillman.

Richard Prince at Gagosian by Nick Stillman
Richard Prince

Nick Stillman laments the lack of humor in Richard Prince’s latest gallery show, citing quotes from past BOMB interviews with Barbara Kruger and Marvin Heiferman.

Kent Mackenzie’s The Exiles by Nick Stillman
​The Exiles 01

The mythology around Kent Mackenzie’s 1961 film The Exiles is better known than the film itself. 

Perverted by Language: Fiction Inspired by The Fall by Nick Stillman
Ec Perverted1 Copy Body

Like the Velvet Underground, the Beach Boys, or the Stooges, The Fall is one of those pop bands that inspires breathless devotion and oceans of superlatives. 

Aesop Rock’s Fast Cars, Danger, Fire, and Knives: The Living Human Curiosity Sideshow by Nick Stillman
Aesop Rock Body

The handsome, CD-size book of lyrics accompanying Aesop Rock’s new EP Fast Cars, Danger, Fire, and Knives is titled The Living Human Curiosity Sideshow, an apt caption for a rapper whose 1999 debut album Float became an underground classic so instantly that by his next album he would rap, “Dwarfed by the lights, bewildered by the fan base, bound by an idea but skeptical of the handshakes.”

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