Saul Ostrow

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Klaus Kertess (1940–2016)
Klaus Kertess Portrait Bomb 01

What I loved most about Klaus was his old-world elegance. 

Mel Chin by Saul Ostrow
Mel Chin 01 Bomb 137

Wry installations and revelatory sculptures blend art-making and activism in Chin’s unique practice of transformation.

Enrique Martínez Celaya by Saul Ostrow
Tony Feher by Saul Ostrow
Feher 01 Body

Ostrow visits Feher at his Bronx studio, where he muses about his past, contemplates his future, and pinpoints the exact moment when he discovered to be an artist meant to believe “I was right, even when I was wrong.”

Salomon Contemporary: 112 Greene Street by Saul Ostrow
112 Greene 01

Salomon Contemporary’s 112 Greene Street: A Nexus of Ideas in the Early 70s revives the spirit of the post-Minimalism SoHo hub by exhibiting the broad range of ideas birthed there.

Alan Uglow (1941–2011) by Saul Ostrow
Alan Uglow 01

A tribute to the late British-American abstract painter from one of BOMB’s founders.

Ugo Rondinone: Big Mind Sky by Saul Ostrow
​Ugo Rondinone

For his most recent venture “Big Mind Sky”, the Swiss-born artist Ugo Rondinone packed 12 gargantuan and grotesquely grinning busts—each named after a month—into the cavernous space of Matthew Marks Gallery in New York.

Visible Language, Fluxus Issues by Saul Ostrow
Visible Language

I have come across a double find: first, a special two-part issue of the journal Visible Languageon Fluxus, edited by Fluxus historian Owen Smith and Fluxus artist Ken Friedman; and second, no less exhilarating, the journal itself. 

Point of View: An Anthology of the Moving Image by Saul Ostrow

When viewing the 11 DVDs that make up Point of View, it is important to remember that this is only the most recent chapter in a century of artists’ engagement in experimental filmmaking. 

Lewis Baltz’s The Tract Houses/The New Industrial Parks Near Irvine, California/The Prototype Works by Saul Ostrow
​Lewis Baltz

This recently published box set of three books represents a comprehensive view of Lewis Baltz’s photography of the late ’70s, when he was identified with the influential photography movement New Topography. 

Jon Kessler by Saul Ostrow
Kes 02

Saul Ostrow on how Jon Kessler’s sculptures and installations explore the aesthetic and the role of technology and mass media in our lives.

Andrew Benjamin’s Disclosing Spaces: On Painting by Saul Ostrow
Article 5610  Andrew  Benjamin

Here we are, if not on the frontlines of the culture war, then at least among the reserve forces. 

Paul Ramirez Jonas by Saul Ostrow
Jon 09

Saul Ostrow on Paul Ramirez Jonas’s optimistic quest for inventiveness and adventure.

Olu Oguibe by Saul Ostrow
Sol LeWitt by Saul Ostrow
Lewitt 01 Body

Sol LeWitt bridged the gap between Minimalism and Conceptualism, foregrounding the disparity between the world of language and that of objects and actions.

Diana Cooper by Shirley Kaneda & Saul Ostrow
Diana Cooper 01

Diana Cooper’s work is a high-wire act.

Julie Langsam by Saul Ostrow
Julie Langsam 01

Painter Julie Langsam suggests the failures of two artistic movements—Romanticism and modernism—through her use of non-traditional landscape styles.

Ivelisse Jiménez by Saul Ostrow & Shirley Kaneda
Jim Nez 01

Aesthetically informed by an awareness of the limits of language and the doubt that this instills, Jiménez investigates the way language orders experience and how concepts are formed, the irreconcilability between the logic of articulation and sentience.

Michael Goldberg by Saul Ostrow

Michael Goldberg (1924–2007) was BOMB’s most knowledgeable and discerning editor, one of America’s greatest painters, and one of our very dearest friends.

Bruce Altshuler’s The Avant-Garde in Exhibition: New Art in the 20th Century by Saul Ostrow
Bruce Altshuler 1

Though anecdotal in form, the book’s message is that the conceptual schema dominating our perception of modernism is not the whole story. The past represented is interesting not only for its historical value, but also for the alternative models and traditions.

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