Two artists drawing from punk, graffiti, and traditional Native American aesthetics, talk about protest art and the notion of the “Post-Smithsonian delinquent.”
To witness the vulgar, Zap Comix–inspired panorama in Manuel DeLanda’s 1979 film ISM ISM—its blubbering testicle-breasts and segmented-plumber’s-pipe phallus scrawled in marker on the tiled walls of a Manhattan subway station, just to start—is to share in the brief, bewildering encounter a commuter may have had with street art before the soap and cleaning brushes arrived.
After Hurricane Katrina, Brandan “Bmike” Odums realized that the graffiti he and other artists were making in the abandoned buildings around New Orleans had an inherent political value, not just because of the subject matter (though Odums himself had always had an affinity for depicting civil-rights icons) but also because creating art in those depopulated spaces foregrounded their meaning, calling attention to what they had once been, what they had been allowed to become, and why.
“In my work, there’s an awful lot of screaming to be heard.”
Patti Astor talks about her new book and her role in the New York art scene of the 1980s.
In Chinatown, NYC, where Wendy White lives, new signs go up over outdated signs, new awnings are installed over old ones, graffiti is painted over, windows become walls, additions are built, architecture is modified, buildings disappear … White has become a connoisseur of these visual shifts.
Street Artist Raquel Sakristan on Dark Energy, defining consciousness, and not being afraid to disappear.
Coco has a career that spans over 40 years, first as a 15-year-old “writer” on subway cars and later evolving into a studio artist employing stretched canvas. He is represented in Down by Law at Eric Firestone Gallery with three paintings selected from three different periods of his career. Each canvas has as its singular theme, various mutations of his tag, “coco.”
What does it mean to paint your name someplace you’ve been—a heavily trafficked location or a highly visible object, like a train, that perpetually traverses an entire city?
Bill Fitzgibbons gives background information on Alex Rubio, the artist who created the cover image for this issue of BOMB, from Rubio’s upbringing in the San Antonio Barrio to his current pieces.
Carlos says he hates biographical details.
Abstract cosmic scene created with spray enamel and marker on a board, Equation for Mettropposttersizer by Rammellzee.
Edouard Roditi was born in Paris 1910 of American parents. In 1929 he abandoned his studies of the Latin and Greek classics at Oxford and, until 1937, was associated with the Surrealist movement in Paris, as contributor to transition and as partner in Editions du Sagittaire, which published Andre Breton’s Surrealist manifestos and a number of books by Crevel, Desnos and Tzara.
Photograph by Tseng Kwong Chi of Keith Haring creating a subway drawing.
Olivier Mosset’s monochrome paintings became figurative walls for graffiti artist Fred Brathwaite. The two artists discuss their work’s purposeful and inherent intersections in “Clinton Street.”