Two artists recast the iconography of consumerism—one into tradition-bending Kuwaiti dowry chests and the other into sculptures evoking raw flesh.
Tribble & Mancenido on nature as an artistic medium and the mythical reality of their year-long venture into trucking.
The real problem with airports is that we tend to go there when we need to catch a plane—and because it’s so difficult to find the gate, because the crowds are so relentless, because there is inevitable anxiety at taking off into the celestial spheres, we don’t look around.
David Shapiro, whose show Money Is No Object was on view at the Sue Scott Gallery this spring, has created a group of vellum scrolls on which he has placed the bills and receipts and ticket stubs he’s collected over the course of a year.
Although beauty’s fragile existence indicates its imminent end, our culture seems determined to keep youth’s flawless face and undeniable power on extended loan.
“And somewhere in this tantrum of rebellion, I started to really love photography.”
Shields, author of the much-debated book on appropriation, Reality Hunger: A Manifesto, used the epistolary method, via email, to discuss the influence of California’s counterculture on Tomaselli’s visionary paintings.
Hirschhorn’s site-specific, hyper-saturated installations enjoy what he calls “wastefulness as a tool or weapon.”
Josephine Meckseper’s sparkling display cases combine vintage consumables with references to protest movements. Through these installations and appropriated advertisements she probes how nostalgia and romanticism compromise dissent.
The growing importance of African artists involved in contemporary artistic practices is exemplified by the career and work of El Anatsui, a Ghanaian sculptor who teaches in Nigeria.
Allow me to admit up front that I have never been much into music.
Don Shillingburg on Beth’s Campbell’s room-sized installations involving talking, mass-produced household objects.
Robert Polito speaks with poet Susan Wheeler as her Ledger and Record Palace were about to be published.
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.