Conceptual Art

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Writing Anti-Stories: an Interview with Roberta Allen by John Zinsser
Catskills Postcard

“When we really like a book, it’s often because its rhythm is similar to our own—to our heartbeat, our breathing, the way we walk. I think that’s what draws us to certain writers and not to others even though we know they are great.”

Nina Katchadourian by Mónica de la Torre​
Katchadourian Nina 01

Embracing boredom and creative constraints, Katchadourian tells of in-flight artwork and other conceptual projects.

Anne Garréta’s Not One Day by Youmna Chlala

If the experimental French writing group Oulipo were to be reborn today, would they return as performance artists? Anne Garréta’s 2002 Prix Médicis–winning novel, Not One Day, marks her as a literary acrobat suspended between those who hold on to the group’s relevance and those who have let it go in favor of conceptual art practices.

Steffani Jemison by Ben Lerner
Steffani Jemison Bomb 01

Early film, nineteenth-century science fiction, and experimental musical languages serve a young artist’s explorations of race and our political present.

Terry Allen by Clinton Krute
Allen Bomb 2

“Making music work to the lyric, and making the lyric work to the note.”

Tom McCarthy by Frederic Tuten
Tom McCarthy 01

Tom McCarthy could be considered a conceptual artist whose medium is fiction. His Satin Island is just out. Frederic Tuten, the British novelist’s counterpart on this side of the Atlantic, investigates the novel’s dizzyingly diverse sources.

Agnieszka Kurant by Sabine Russ
Agnieszka Kurant 01

Agnieszka Kurant’s interests include various forms of surplus, invisible entities, and the phantoms haunting capitalist production. Some of her projects involve crowdsourcing, others outsourcing to nonhuman species: think colonies of termites.

Portfolio by Ofri Cnaani

My Untranslated Feed

Greil Marcus by Matthew Choate
Still From Guitar Drag

Rock ’n’ roll and the malleability of historical fact.

Paul Chan’s Selected Writings, 2000–2014 edited by George Baker and Eric Banks by Alan Gilbert
Paulchanf2

Chan is not an artist who also writes; he’s an artist and a writer.

Joe Sola by Stuart Horodner
Sola1

“So I had this idea to get an anesthesiologist to knock me out during an art fair, and I could just lie there, well dressed, as if I were out looking at art in this center of commerce, but having totally checked out.”

Ray Johnson’s Not Nothing: Selected Writings, 1954-1944, Edited by Elizabeth Zuba by Trisha Low
Ray johnson

So I guess Ray Johnson could have been amateur—you know, like that person at karaoke who, as Barthes said, loves to love without the spirit of competition?

smudge studio by Sara Jacobs & Emily Gordon
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Valerie Snobeck by Joe Fyfe
Snobeck 01

“The absurdity of this material’s resistance made me want to work with the plastic, the peels. The plastic is part of us, part of me and my contribution, too, even if not directly. Plastic is estranged from me, but it is me.”

Highlights of Bushwick Open Studios, 2013
Hillerbrand Magsamen Blanket Body

Eight young artists, curators, writers and art historians tell BOMB their top picks at this year’s BOS, May 31–June 2, 2013.

Amy Adler by Legacy Russell
Amy Adler

Amy Adler on artist’s rights, the impact of conceptual art on law, and Texts from Hillary.

Vanessa Place: Poetry and the Conceptualist Period by Andrea Quaid
silence

Andrea Quaid and Vanessa Place on the simultaneity, reflection, and transformation of conceptualism.

Shifting Connections: Terence Koh by Kathleen MacQueen
Terence Koh 1

Shifting Connections continues with writer and critic Kathleen MacQueen’s take on Terence Koh’s nothingtoodoo at Mary Boone Gallery, on view through March 19th.

Jameson Ellis’s Improved M16 Prototype #1 by Zachary Lazar
Jameson Ellis 01

After designing and building what he regards as an improved M16 in his studio, Jameson Ellis reduced the act of firing a gun to “pure functionality” at the Salomon Contemporary.

Passages by Andrea Neustein
Opalka 2 Body

The aesthetic modesty of Roman Opalka’s work belies the epic ambition, the monumental heft, of his artistic project.

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