For BOMB’s Oral History Project, Odita, known for his geometric paintings, recalls growing up as a refugee from the Nigerian Civil War and the influence of his father, a historian of African art.
Overlooked modernisms on display.
An exhibition looks at historical conceptions of nature in the United States.
Twenty artists spanning three generations depict rape and its effects.
On telling a story within a story, writing about autocratic regimes, and finding creative inspiration in science experiments.
The institution of institutional critique
Old iconography in a new France
“The reward is getting through the tough stuff. And that’s what’s perplexing about the art thing. When I was going to school there were kids that could draw their asses off. There were kids that were better draftsman than me, for certain. But no one was more determined than me.”
Early film, nineteenth-century science fiction, and experimental musical languages serve a young artist’s explorations of race and our political present.
“She wasn’t loved, so she didn’t know how to give love.”
Lucy Skaer might be hiding a time machine.
Lucy R. Lippard collects the history of Conceptual Art in this polyphonic text.
Faking It: Manipulated Photography before Photoshop is a catalogue for the exhibition Mia Fineman curated on early photographers’ efforts to revise their original photographs.
Invisible Love proposes parallels between the work of Marie Curie and Marcel Duchamp as evidence of their potential unrequited love …
Alejandro Cesarco works brazenly in a tradition, the aesthetic confines of classic conceptual art. In his work, text prevails over image—replacing it or transforming it.
An artists on artists text on Photographer Mark Klett by Darius Himes, accompanied by several photographs by Mark Klett, the first titled Three Views of the Site of Comstock Mines.
Here we are, if not on the frontlines of the culture war, then at least among the reserve forces.