Installations (Visual Works)

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Jibade-Khalil Huffman’s STANZA by Thom Donovan
Jibade Khalil Huffman 01

In Killer of Sheep, Charles Burnett’s 1977 film set in LA after the Watts riots, there is a scene you may recall: a group of friends sit in a car outside a liquor store; on the hood rests a can of beer, and the man in the passenger seat reaches through the empty windshield to sip from it.

Ester Partegàs by Eduardo Abaroa
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Mold-making and photography have an ambiguous relationship to whatever they reproduce. They can deliver the most faithful rendition of a given model, but it is precisely this similarity that makes them extraordinary, unreal.

Javier Téllez’s To Have Done with the Judgment of God by Silvia Benedetti
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Venezuelan-born artist Javier Téllez’s first exhibition at Koenig & Clinton took its title from his recent film To Have Done with the Judgment of God (2016) and concerns an experience that marked Antonin Artaud’s life in 1936: the author’s encounter with the Rarámuri community living in the Sierra Tarahumara in northwest Mexico.

Anna K.E. by Corrine Fitzpatrick
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As Anna K.E. explains it, first a picture comes to her, then she completes the action.

Fia Backström by Robert Fitterman
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An equation for Fia Backström. In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser…

Nari Ward by Lee Jaffe
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Ward’s Jamaican roots and home in Harlem have been recurring themes in his numerous installations. He speaks with Jaffe about three key works.

Pierre Huyghe’s Rite Passage and Human Mask by Chris Chang
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Huyghe is forever fond of systems that try to take care of themselves—regardless of whether they self-generate, naturally decay, or both.

Robin Rhode by Lee Ann Norman
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“No, it’s not graffiti art. It’s not street art. I’m a bushman cave painter.”

Mike Nelson by Chris Chang
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Matter, mythology, and metaphysical pelts.

Lauren Bakst and Yuri Masnyj
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A conditional archive or A score
for the past and future of
LIVING ROOM INDEX AND POOL

Sarah Ortmeyer by Stephanie Cristello
Sarah Ortmeyer 01

Chess, eggs, and dessert.

Mira Friedlaender by Sara Roffino
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Unpacking relationships.

Terry Adkins by Calvin Reid
Terry Adkins 01 Bomb Oral History

“I obtusely landed in the best place possible.”

Tom McCarthy by Frederic Tuten
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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.

Samara Golden by Kristin Lucas
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I went on a few adventures as a prompt for writing this response to Samara Golden’s The Flat Side of the Knife.

Tamar Ettun by Naomi Lev
Tamar Ettun 01

A live conversation about performance, adventure, and objects.

Gary Simmons by Jodie Bass
Gary Simmons 01

Building a mutable sound system with found materials.

Bethany Ides by Suzanne Joelson
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For the past decade my sense of Bethany Ides’s work was based on hearsay, bits and scraps, or long distance perception.

Paweł Althamer by Nell McClister
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The Polish artist recently mounted a new participatory installation on Hydra Island in Greece, where Nell McClister prompted him to talk about the core of his collaborative projects: community, experimentation, and spirituality.

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