The revealing/concealing nature of self-portraiture.
Painting with a Roomba and International Klein Blue.
Embracing boredom and creative constraints, Katchadourian tells of in-flight artwork and other conceptual projects.
Thanks to his son, Harrod Blank, the filmmaker’s forty-year-old documentary on musician Leon Russell is finally released.
Zipora Fried talks with Witschi about the intricate methodology that inspires his paintings, his digital image archive, and his musical notation.
Colm Tóibín and Miquel Barceló on Walt Disney, looking like animals and when painting is better than real life.
A selection from husband and wife team Hillerbrand+Magsamen’s House/Hold series (2011-12), plus a video excerpt of Family Portrait (2012).
A selection of photographs and videos from June Kim’s Wolf series, 2009-2012.
Kenya (Robinson) reflects on the end of her MFA program and becoming a professional artist.
For this edition of BOMBlog’s reprint from [ 2nd Floor Projects ], Jennifer Blowdryer writes an aggressively witty autobiographical prose piece inspired by work in [ 2FP ]’s exhibition Here Comes Everybody.
The obsession with documentation and online sharing might have caused K8 Hardy to press pause on performing, at least for now. Hardy discusses, with poet Raines, the runway show she’s producing for the Whitney Biennial.
I met Jimmie Durham the day after the opening of his retrospective at the Musée d’Art Moderne de la Ville de Paris in February of 2009.
In paying homage to Ed Ruscha’s Twentysix Gasoline Stations, Sowon Kwon’s book project dongghab suggests a connection between nascent American postmodernism and violence.
David Shapiro, whose show Money Is No Object was on view at the Sue Scott Gallery this spring, has created a group of vellum scrolls on which he has placed the bills and receipts and ticket stubs he’s collected over the course of a year.
This First Proof contains two poems by Víctor Manuel Gaviria.
Spirit + Flesh, a collection of Fakir Musafar’s self-portraits, document the extremes to which Musafar subjects his own body, from compression to piercing.
Lee Friedlander has been making self-portraits since the early 1960s.
It was in 1981 and I was a sophomore in art school when I first encountered Chuck Close’s work at a show called Contemporary American Realism Since 1960. I was struck by how it didn’t resemble any of the other work in the show.