Posts Tagged ‘BOMB Magazine’

Interview with Njideka Akunyili Crosby

I Refuse to Be Invisible, 2011, acrylic, charcoal, and xerox transfer on paper, 24 × 16 inches. Courtesy of the artist.

Today from our friends at BOMB Magazine, we bring you author Erica Ando’s interview with Nigerian artist Njideka Akunyili Crosby. Crosby says of her paintings, “I always make sure the woman is in a position of power—where her agency is not questioned and where she is an active participant.” This article was originally published in BOMB 137: Fall 2016. The figures who people Njideka Akunyili Crosby’s[…..]

Jen Bervin and Dianna Frid

Dianna Frid. NYT. APRIL 24, 2014, RICHARD H. HOGGART, 2014; embroidery floss and graphite mounted on canvas, 15 × 20 inches. Photo: Tom Van Eynde.

From our friends at BOMB Magazine, today we bring you a conversation between artists Jen Bervin and Dianna Frid. They discuss color as a system of classification, Art Povera, and language. Diana Frid says “In classifying, I’m also alluding to the absurdity of classification, because no one is reducible to just one thing. All systems start out idiosyncratically.” This piece was originally published in BOMB 137,[…..]

Summer Session – Joanne Greenbaum by Jeremy Sigler

Untitled, 2012, oil and ink on canvas, 90×70 inches. Images courtesy of the artist; Shane Campbell Gallery, Chicago; greengrassi, London; and Nicolas Krupp Gallery, Basel.

For this Summer Session we’re thinking about going Back to School, and today from our friends at BOMB Magazine we bring you Jeremy Sigler’s interview with Joanne Greenbaum. In it, Greenbaum and Sigler talk about the problem with teaching as an artist, the value (or lack thereof) of crits, and their ongoing love affair with academically out-of-vogue modernism and its tenets of originality, authenticity, and revelation. This interview[…..]

Summer Session: Mika Rottenberg by Judith Hudson

Mika Rottenberg. Still from Squeeze, 2010; digital C-print, single-channel video installation. Total running time: 20 minutes.

Today from our friends at BOMB Magazine, we bring you an excerpt from Judith Hudson’s interview with Mika Rottenberg. In keeping with our Summer Session theme of labor, the artist discusses multitasking, migrant workers, energy, and the value of sweat. This interview was originally published in the Autumn 2010 issue of BOMB. Video-installation artist Mika Rottenberg creates mini-factories, farms, and tableaux, which produce products variously made[…..]

Interview with Carlos Motta

Carlos Motta. Patriots, Citizens, Lovers..., 2015; installation view.  PinchukArtCentre, Kiev. Courtesy of Instituto de Visión, Bogotá, Mor Charpentier Galerie, Paris, and Galeria Filomena Soares, Lisbon.

Today from our friends at BOMB Magazine, we bring you an interview with artist Carlos Motta. Author Cat Tyc writes, “Motta’s research-based practice is constituted by discursive spaces, presented in a variety of different spatial forms, which create—in his own words—’counter-narratives that recognize suppressed histories, communities, and identities.’” This article was originally published May 6, 2016. Cat Tyc: At your artist talk at Pratt Institute, you[…..]

Deana Lawson & Henry Lawson

Henry Taylor. 
Where Thoughts Provoke, Getting Deep In Shallow Water, 2015; acrylic on canvas; 36 × 36 inches. Courtesy of the Artist and Blum & Poe, Los Angeles/New York/Tokyo.

Today from our friends at BOMB Magazine, we bring you a conversation between artists Deana Lawson and Henry Lawson. They speak about the commonalities of their practices, their travels, and the importance of color in their work. Lawson says of her photographs, “I often think of Carrie Mae Weems’s titles in the Colored People series, in which she names the nuances of black and brown bodies[…..]

Interview with Mariah Garnett

mariah_garnett

Today from our friends at BOMB Magazine, we bring you an interview with Mariah Garnett. Author Risa Puleo speaks with Garnett about her time in Belfast, the making of the film/exhibition Other & Father, and the roles of identity and failure in her films. Garnett says, “That was one thing I was interested in for the film: the way identity is constructed and history is performed,[…..]