The artist talks about the genesis, composition, and execution of a recently completed work.
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.
The celebrated choreographer of Bronx Gothic explores the embodiment of psychic space, the nature of memory, and who gets to write history.
The artist and composer stages her latest entanglement of bodies, spaces, and sounds at the Biennale de Montréal this October.
It starts, of course, with water. A bath for the newborn, a baptism for the blank canvas.
The 17th-century townhouses that Gordon Matta-Clark and his friends chipped away at in Conical Intersect (1975) did not collapse immediately—like, say, flimsy clapboard ranch styles built where neighborhood site plans had been rushed and mistaken.
Katrín Sigurdardóttir’s sculptures and installations merge embodied experiences of place with conceptual constructions of space. She reflects with poet Eva Heisler on the early memories that inspire her work.
Jeannette Mundt’s new show at Michael Benevento in Los Angeles toys with atypical notions of space in a classic medium—paint.
Jenn Joy is confronted by the distorted anatomy and face of Heather Kravas’s Kassidy Chism.
“My dream was a synchronized sound of present, absent, and distant musicians choreographed across the audience via the elaborate placement and movements of the performers in the whole building.”
At the heart of Julie Mehretu’s paintings is a question about the ways in which we construct and live in the world. Perhaps that is what makes the work so radical: its willingness to unravel the conventionally given answers about the violent environment we inhabit today.
BOMB architecture editor Carlos Brillembourg parses the varied subjects and themes of artist Guillermo Kuitca’s 1991 MoMA show.
What the viewer first sees in Newman’s Skywriting (2000) is the entire field of canvas, its fluid and unrushed strokes creating an effect both laconic and lively.
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.
This First Proof contains an excerpt from Incidents of Travel in Riversford.
Sometimes it’s fun to listen to the sounds abstract paintings make in your imagination.
Writers Donald Antrim and Thomas Bolt trade keys to iconoclasm and metaphor in Antrim’s novel, The Hundred Brothers.
From the street, only a wall is visible, flanked by anonymous windows and a large wooden door. We press the doorbell and a young boy answers. We explain that Mother Delecta is waiting for us to assist the seven o’clock mass today—All Souls Day.