BOMB 88 Summer 2004
Conceptual art’s shift away from the traditional art object—sometimes dubiously referred to as “dematerialization”—was more or less an idée reçue in the late 1980s and early ’90s, when Olafur Eliasson was beginning to make art as a student at the Royal Academy of Arts in Copenhagen.
When Ellen Phelan first told me about her plan to work with existing photographs—family-album snapshots of her life from childhood through adulthood, some shot by her father and others by her husband, Joel Shapiro—I was immediately touched and intrigued.
A Cuban American friend who grew up in Philadelphia used to make regular trips to New York City as a child.
Ben Katchor is a recorder of vanished and vanishing places, a poet of the vast metropolis of New York. He notices, crucially, what others walk by, fail to see and generally disregard—a man living in the mosaic while seeing its details.
Jørgen Leth has always lived by his own rules—he’s a poet, a journalist, a filmmaker and a sports commentator, as well as Denmark’s Honorary Consul in Haiti.
Michael Bell represents a new breed of architectural practitioner, theorist, and professor.
In the afternoons Ghy and I carry our tea out to the screened-in porch. We cut sandwich rounds—using shot glasses to make perfect circles—and stack them with cucumber slices and homemade mayonnaise, tomato and whatever cheese is handy.
I am in a deep sleep when her perfume enters my room, inhabits it like a ghost, until I feel her breath on my skin, shaking my shoulder, waking me up.
Leah, home from school early, caught her mother—fingers frozen in a Whitman’s Sampler, the box all bristly with pleated cups. Empty, mostly.
After September 11, I kept thinking that the United States wouldn’t invade Afghanistan. I was so wrong about that.
In 1964, more than a decade before Hernan Bas was born, Dieter Roth painted portraits with biodegradable materials such as processed cheese and chocolate.
Portraiture is about many things: how the subject relates to the photographer or painter, and where the subject’s gaze lies.
The sculptures of Helga von Eicken explore the mysterious inner world of human consciousness, conveying simultaneously presence and absence, memory and change.
As the American occupation of Iraq drags on despite recycled timelines and White House reassurances, the timing of this show (which opened on the day of the Madrid bombings) felt unsettlingly right.
It is usual these days to look back at the invention of photography in the mid-19th century as a welcome event in technological progress that enabled an exciting new form of representation: a moment captured and represented as fact.
I like surprises. I always have.
One of poetry’s virtues is compression; one of its temptations is a reticence that says little and leaves out even less.
Ammaiel Alcalay describes Benjamin Hollander’s new book, Rituals of Truce and the Other Israeli as a book laden with philosophical and cultural references that lace the story together.
Twenty-five years in the eyes of photographer Glen E. Friedman’s “Idealist” is a challenging record of diverse images. I
Documentary filmmaker Jehane Noujaim invites viewers into both Al Jazeera, Arab-language satellite television, and CentCom, the US military news center, for two very different media portrayals of the 2003 US invasion of Iraq.
Climax Golden Twins—actually a trio—has a considerable discography of well-hidden projects.