Composition (Artistic Arrangement)

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Teju Cole’s Blind Spot by Claire Lehmann
Cole Blind Spot 01

Following loosely in the tradition of the book-length photo-essay yoking images to text in a documentary mode, Cole has gently torqued this form.

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.

Michael Morley & Alan Licht
Licht Morley Bomb 1

“Oh no, this is sounding too beautiful, too seamless, and too much like it was planned. I have to unravel it.”

Barbara Kasten by Leslie Hewitt
Barbara Kasten 01

Kasten’s photographs capture the fleeting interplay of color, form, and light in the geometric objects she assembles. She spoke to Leslie Hewitt about the expansion of their shared medium.

Christopher Deeton by Raphael Rubinstein
Deeton 01

In the 1970s there was a little record shop in Claremont, California, where Christopher Deeton grew up, that somehow included in its stock a steady supply of LPs by new German bands.

Christian Haub by Jeremy Gilbert-Rolfe
Roy Orbison Float

Christian Haub’s Floats are plexiglass constructions that are looked through as well as at. The artist discusses the place these works have in his long, underrated career.

Light, Looking: Uta Barth by Sabine Mirlesse
Barth 1

Uta Barth brings a new meaning to close looking.

Joe Fyfe by Josh Blackwell
Dargah

Joe Fyfe tells painter Josh Blackwell about his involvement in abstraction as a by-product of loss and the wabi-sabi discovered on his travels to Vietnam, Sri Lanka, and Bangladesh.

George Negroponte by Carlos Brillembourg
Article 3541  George Negroponte

George Negroponte’s new work has substituted the expression of the brush with that of the knife.

Arturo Herrera by Josiah McElheny​
Herrera 01 Body

Herrera’s use of profane materials—familiar, commonplace images—“contaminate” the carefully circumscribed world of the abstract.

Steve DiBenedetto by Dike Blair
Dibenedetto 1

Steve DiBenedetto forces a lot of perspectives into his pictures. As he puts it, “I like to put in too many skies.” 

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.

Steven Holl by Joseph Masheck
Holl 01 Body

Steven Holl likes to wake up early in the morning and begin his projects with pencil, paper, and watercolors. This freehand working up of an architectural space perhaps serves as a clue to the sometimes idiosyncratic results. 

Beatriz Milhazes by Adriano Pedrosa

Beatriz Milhazes’s paintings are executed in a small studio next to Rio de Janeiro’s luscious botanical gardens.

Jacqueline Humphries: New Paintings by David Hunt

The painter Jacqueline Humphries might find it odd that NBC uses an editing process called the “tease and squeeze”: compressing the closing credits into one-third of the screen, while outtakes and other brief clips of “promotainment” roll on the remaining two-thirds.

Stephen Mueller by Joe Fyfe
Mueller 01 Body

I have been following Stephen Mueller’s work for 20 years. I didn’t understand it right away but some work plants itself in your mind and its logic begins to grow there. These earthly sensual paintings display a rare pictorial intelligence and an emerging cosmic ferocity.

James Siena by Shirley Kaneda
James Siena 01

Siena successfully turns his images into what they are not, coaxing their “other” from them. Seemingly without conscious intention, he transfixes the viewer like a magician, making the nonexistent become existent, in the most indirect way.

David Ryan’s Crossings by Jeremy Gilbert-Rolfe
66 David Ryan Body

David Ryan’s work reminds one that while most contemporary art works like furniture—its inertia facilitating conversation on almost any topic (except art) that might go on around it—painting has to exceed its literal identity as an object if it is to be more than a critique of itself.

Catherine Murphy by Francine Prose
Catherine Murphy 01 Bomb 053

Francine Prose, author of the novel Hunters and Gatherers, delves into realism and the real act of painting time with figurative painter Catherine Murphy.

Robert Mapplethorpe by Gary Indiana
Mapplethorpe 01

A discussion between long-time BOMB contributor Gary Indiana and the late Robert Mapplethorpe on the New York art scene of the late 1980s and the difficulties of intimacy, comfort and eroticism in photography and portraiture.

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