The artist talks about the genesis, composition, and execution of a recently completed work.
The artistic directors of the Chicago Architecture Biennial discuss their new Menil Drawing Institute and the role of history in contemporary architecture.
Benjamin as hollow window dressing
“The idea of misunderstanding is very much part of our time. In our firm, we are from all these different backgrounds, working in this Babylonian city, so we are also interested in process and the unintentional things emerging from that. It acknowledges our contemporary chaos.”
“She wasn’t loved, so she didn’t know how to give love.”
The artist Josiah McElheny has published two books that display his collaboration with artists, scholars, scientists and creative writers, offering a multitude of voices, speculations, fictions, and facts.
Diao’s first comprehensive retrospective, at the Ullens Center for Contemporary Art—fittingly, in the painter’s native China—is the occasion for a conversation that looks back at fifty years of artistic production.
Deep language, the “silver” figures of literature, and reader as pit canary.
Greenbaum on the fundamentally personal and private process of creating art, and how modernism, rage and rebellion fuel her creativity.
There are many artistic modernisms. There are alternative modernisms, alternatives to modernism, and antimodernisms.
“History has shown that universalism is a step away from totalitarianism—a deadly kind of erasure that I find horrifying. The fear of fascism undermines my sensuous relationship to those things. I often wonder, are there any other alternative aesthetics?”
“I have diversity in my work, but I also have control of it. I rarely paint things that I like.”
In Chicago, where I live, I can eat a cup of decent pea soup at a bakery across the street from the Richard J. Daley Center, a sharp steel and glass courthouse tower.
Pedro Reyes works within a complex system of associations that defies our assumptions about the ways in which knowledge is categorized and legitimized.
Cannon Hudson paints architectural interiors. On first glance, many of his paintings look like pictorial space populated by shapes resembling Sol LeWitt sculptures.
Herrera’s use of profane materials—familiar, commonplace images—“contaminate” the carefully circumscribed world of the abstract.
Painter Julie Langsam suggests the failures of two artistic movements—Romanticism and modernism—through her use of non-traditional landscape styles.
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.
Michael Goldberg (1924–2007) was BOMB’s most knowledgeable and discerning editor, one of America’s greatest painters, and one of our very dearest friends.
Though anecdotal in form, the book’s message is that the conceptual schema dominating our perception of modernism is not the whole story. The past represented is interesting not only for its historical value, but also for the alternative models and traditions.