The filmmakers question the conventions of documentation with work that seeks transparency and authenticity outside of the fiction–nonfiction dichotomy.
A new look at the actions, drawings, and sculpture of the late Japanese artist.
“Traditionally, a painting treats you to the front and center seats. I like the idea you might get a seat that’s off to the side.”
On sculpture’s theatricality and refusal to be imaged.
For this installment of Post Impressions, Kanishka Raja takes the scenic route from Kashmir to Switzerland in conceptualizing his latest series of paintings.
BOMB visits the studio of visual artist Shoshanna Dentz, to talk about Beckett, content, and the human relationship to fences.
Jean Bergeron’s film on M. C. Escher, Achever l’inachevable (Achieving the Unachievable), shown at the MUSE film festival.
According to most accounts, the camera obscura was developed in Europe during the 13th- and 14th-centuries, although versions of the device may have been used even earlier in China and the Arab world.
In engaging architecture as both subject and material, over the past decade Glen Seator has challenged the terms of site specificity and transportability, as well as the traditional boundaries between art and architecture.
Chris Ware develops a unique vision in his tragic comic book Jimmy Corrigan: The Smartest Kid on Earth through wide-ranging style and perspective.
She is Pierre like my ass is Pierre. She is Pierre like this cell is the goddamn White House and I am just the First Lady sitting on my ass waiting for an iced tea.