“I’m a Zimbabwean and I should show in my paintings where I’m from. In our culture, when you have a dream about dogs, cows, or whatnot, it means an evil spirit is coming to attack.”
This First Proof contains the poem “Hello, The Roses,” by Mei-Mei Berssenbrugge.
Biggers has three shows this fall: an “introspective” at the Brooklyn Museum, a solo show at SculptureCenter, and an exploration of African diaspora imagery at MASS MoCA. He discusses lineage and American history with fellow artist Terry Adkins.
Writing a letter these days seems to be a tribute to nostalgia rather than an efficient means of communication. I almost always choose to text or email rather than actually write or type a letter. But I decided to write a long letter to a friend after reading Andrew Naymark’s poem “Letter.” The poem taps into the transitory yet life-altering realm of this often forgotten art and reminds us that “some beauty has failed to be recognized” when we fail to send a letter.
– Katherine Sanders
Writer Rachel Kushner examines the lineage of common themes and recurrent imagery in July’s extraordinary body of work.
The magician never gives away his secrets. Tunga is content to explain his, yet the sum of these secrets remains a mystery.
Carl Phillips is the author of five books of poetry, including, most recently, The Tether, a movement of work that goes as deep into the unknown and perhaps ultimately unchartable realms of desire, wanting and mortality as any we are likely to encounter.
Giovanni Rizzoli’s forms are visual fragments from the historical past and the artist’s personal memories.
For Kerry James Marshall, 1997 was a good year: a MacArthur Fellowship, the Whitney Biennial and Documenta X. He spoke with Calvin Reid about the future of painting.
The 19th-century traditional skills of the “fine artist” and the nomadic intellect of the postmodern would seemingly be at odds with one another, as if object and subject were intent on maintaining total disregard or being completely dissolved by each other. Such a paradox is at the core of Roland Flexner’s work.
Truly a cyber-era artist, Monique Prieto’s bold, colorful abstract paintings are composed on the computer. Their emotive quality relies on the traditional triangle of the eye-hand-brain. BOMB contributing editor David Pagel finds out how it all connects.
Writer Ariel Dorfman addresses his pan-American past, the threshold of insanity, and the literary stakes of exile.
At the end of daybreak, you awoke from a nightmare: an
anadromous fish died by desiccation.
“I’m not really trying to make a hermetic painting. I’d like to make a painting that engages the attention and imagination of the viewer, not one that will refuse to give up its meaning. Maybe one that will release its meaning in time.”
Then Connie had a nightmare, a dream that turned into a nightmare.
Painter Lari Pittman creates silhouetted scenes brimming with sexuality and nonsensicality—the folk art of a liberated past, channeled through the social realities of the present. Here, he discusses his envy of abstraction, and the horror of an empty bed.
Jeanne Silverthorne is a New York based sculptress who works re-contextualizing primitive and iconic works of art to challenge dominant ideology. See her work at Shoshana Wayne Gallery through 1/9.
“Making an art work involves the transformation of matter, paper and materials into a process of animation or psychic elevation of material stuff.”
Anish Kapoor and Ameena Meer discuss sex and death, subjectivity, and colors. Kapoor’s new work is on view now at Gladstone Gallery.