Perception
On visual art as a tool to write about narrative, creating different kinds of time, and juggling complicated realities.
On visual art as a tool to write about narrative, creating different kinds of time, and juggling complicated realities.
Open floor plans are less open than we think—and ripe for intervention. Oppenheimer’s latest effort is on view at the Pérez Art Museum Miami.
Katherine Hubbard is an interdisciplinary artist based in Brooklyn.
“A precisely aimed reach into the immeasurable flow of things.”
Takashi Makino’s thirty-minute film 2012—screened as part of the New York Film Festival’s Projections series in October—drenches the audience with sounds of prolonged resonant scraped string textures and images of shimmering blue clouds of drifting particles.
On his second stop at Wood Street Galleries, Icelandic artist Finnbogi Petursson returns with Second/Second, his first solo US exhibition, featuring two large installations involving sound, light, and water.
On painting, architecture, and working in “chapters.”
BOMB visits Chloë Bass’s Bedford-Stuyvesant studio to discuss invisible performance artists, documenting ephemera and creating The Bureau of Self-Recognition.
When asked about the triangles that populate his work, Halsey Rodman mentions, among other inspirations, the light beam of a flashlight in a cartoon—Inspector Clouseau projecting yellow triangles across flat blackness.
“The traditional economies of film are a little more transparent, right? Like at the movie theater, you buy a ticket, and you have a sense of the way film production happens. But that whole apparatus is invisible in an art context.”
“Photography is a translation of color and tones—a language. And just as significant is that absolutely nobody possesses an accurate color memory.”
Lauren Bakst talks with choreographer Beth Gill and the six women who perform in her latest work,Electric Midwife, about the perceptual possibilities of doubling and the depths of understanding sameness and difference.
No-Neck Blues Band’s Keith Connolly queried David Toop on inchoate listening, eavesdropping, and the uncanny—as contemplated in Toop’s new book, Sinister Resonance: The Mediumship of the Listener. From the current issue, BOMB 113, Fall 2010.
Jonas’s language gives us a fertile semiological value to reflect upon. It has an organic open-work structure of experimentation that necessitates play along with a system of signs. Its mythology offers a visual image of a new Gestalt.
It’s a relatively limited type of adjective that clings to recent abstract painting: intricate, quiet, lyrical, seductive, mysterious, atmospheric.
Artist Mário Ramiro on the work of Lucia Koch. WEB EXTRA: Watch Koch’s collaborative animation, Olinda-Celeste!
Anthony McCall speaks with fellow artists Graham Ellard and Stephen Johnstone about his latest work, Between You and I.
“Art encompasses philosophy, psychology, humor, politics, physics—a way of being able to talk about anything, while at the same time involving this thrill of perception.” Liz Larner
Pedro Reyes works within a complex system of associations that defies our assumptions about the ways in which knowledge is categorized and legitimized.
