Art—History And Criticism

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One Piece: The Old Bars (after M.H.) by David Salle
David Salle The Old Bars

The artist talks about the genesis, composition, and execution of a recently completed work.

Rita Ackermann by Josh Smith
Rita Ackermann Bomb 01

We listen in as two painters talk painting, studio practice, and the way their works live out in the world.

Donald Judd Writings by Maika Pollack
680161715 12202016 Donald Judd Chairs Bomb 01

If you’ve ever taken a course about modern and contemporary art history, chances are you know that Minimalist sculptor Donald Judd wrote the lively essay “Specific Objects” in 1965. But you may not know that Judd wrote throughout his thirty-five-year career. 

See & Be Seen by Maika Pollack
See And Be Seen 01

On David Salle’s How to See

Rendezvous in the Alps by Ratik Asokan
John Berger 01

With The Seasons in Quincy, filmmakers Tilda Swinton, Colin MacCabe, and Christopher Roth produce portraits of art critic and novelist John Berger.

Jason Simon by Claire Pentecost
183521087 06092016 Jason Simon Bomb 8

“Liberty’s show manages to be about prison and not about prison at the same time: her audience writes about how the music lets them forget they’re incarcerated for a moment, and she calls that effect ‘time travel.’”

Álvaro Enrigue by Scott Esposito
Enrigue Bomb 01

“A writer worried about reception is cooking a dead book. A writer’s job is to produce the best possible book in absolute freedom, so the category ‘acceptable’ does not play in the process at all.”

Susan E. Cahan’s Mounting Frustration: The Art Museum in the Age of Black Power by Terence Trouillot
Cahan Susan 01 Bomb 134

A 1971 photograph by Jan van Raay shows artist Cliff Joseph leading a group of artist-activists—members of the Black Emergency Cultural Coalition (BECC)—in the dead of winter protesting the Whitney Museum’s controversial exhibition Contemporary Black Artists in America (months before its opening on April 7, 1971).

Carolee Schneemann by Coleen Fitzgibbon
Carolee Schneemann 01 Bomb 132

Breaking the Frame, a film by Marielle Nitoslawska about Schneemann’s unique legacy, serves as a departure point for an exchange about the “beauty paradox,” historical and contemporary patriarchies, and the artist’s ongoing subversion of gender codes.

Raphael Rubinstein’s The Miraculous by Anthony Graves
​David Hammons

An illustrious French intellectual once called for a moratorium on the authorial attribution of texts. 

Renée Green’s Other Planes of There by Thom Donovan
Renee Green

Renée Green’s collection, Other Planes of There, which spans over twenty years of the artist’s career, holds an alluring sense of return for me, offering a kind of fossil record of an evolving debate among progressive artists and cultural critics.

BOMB Specific by Julie Ault
Toyin Odutola by Ashley Stull
Verbnoun

On race, representation, and inspiration.

Richard Barnett’s The Sick Rose: Disease and the Art of Medical Illustration by Andrew Bourne
Sickrose L0074348

With the landmark publication of De humani corporis fabrica in 1543, Vesalius may have forever linked human anatomy, at least pictorially, with the aesthetics of the sixteenth-century woodcut—its perfect draftsmanship, edifying gore, and rather ham-handed theatricality. 

Paper Clip #14 by Tyler Curtis

Paper Clip is a weekly compilation of online articles, artifacts and other—old, new, and sometimes BOMB-related.

Paper Clip #2 by Margie Cook
Cynthiahopkins Body

Paper Clip is a weekly compilation of artifacts, both old and new, and sometimes BOMB-related.

Letters of Olana by Kari Adelaide
Olanasaana Wang Body

Kari Adelaide reflects on the site and exhibition at the New York Public Library that explores Frederic Church’s art and life through photography.

A Modern Marvele by Montana Wojczuk
Herzog Artist Body

Montana Wojczuck returns with an investigation—nay, exploration—of German wildman Werner Herzog’s latest film, Cave of Forgotten Dreams.

Klaus Kertess’s Seen, Written by Max Blagg
Klaus Kertess 01

Seen, Written is filled with fluid and poetic dissertations on a wide range of artists and their work, standouts among them the essays on Carroll Dunham, Brice Marden, and Louisiana shaman Keith Sonnier.

Off the Wall: Part 1—Performative Actions by John Sherman
Jimmy DeSana

The Whitney’s Off the Wall: Part 1 raises questions about museums’ duty and capacity to preserve and re-present performance art—the extent to which it can be preserved, and the ethical implications of bottling, as it were, such an immediate form of artistic expression. John Sherman reviews the show.

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