17 years later, Sally Potter revisits her conversation with BOMB about her film interpretation of Virginia Woolf’s Orlando. Recently re-released by Sony Pictures Classics, the gender-bending film’s timeless themes take on a new meaning with each viewing. Sally Potter looks back at the making of the film and the ways in which filmmaking is different today.
Morgan O’Hara’s LIVE TRANSMISSION drawings—part object, part performance—catalog movement. It was only natural that she undergo her latest performative drawings at The LAB gallery in Midtown. Morgan O’Hara used the repurosed storefront as a stage, with a black-and-white backdrop of a blown-up 2001 drawing, collaborating with six musicians over a week’s time. Richard J. Goldstein talks to O’Hara and alt_classical musician Peter Gregson.
From the archives and across state lines, BOMB on the Scene hopped on New Jersey Transit to visit Paul Henry Ramirez. Since painter Roberto Juarez’s 2007 essay on his work for BOMB’s 25th Anniversary America’s issue, Paul Henry Ramirez has relocated his studio to Hamilton, New Jersey from Greenpoint, Brooklyn. Read more…
Deana Lawson’s photographs are steeped in her community. And just last week she brought the work back to Bed-Stuy in a talk at Brownstone Books. She spoke about work featured in her recently published catalogue Corporeal. Rooted by questions of the family album she investigates the phenomenon of the arresting beauty of the framed moment. Without sentiment, Lawson pushes on and into the lives of her subjects in which dialogue on representation’s process unfolds. Click through for more…
What better way to look into the theater of painting than with a painter/playwright? Lars Elling fits the bill and reconsiders Artuad giving us theater and its other double, painting. True to painting, he reels the viewer in; true to theater, he creates a scene to unfold and hemorrhage. But like a dry wind, his work starts the crackle caw chorus of memory. Elling’s work makes memory talk. Featuring a virtual gallery walkthrough of his show Fictions at Nicholas Robinson Gallery.
Sometimes the picture slips, another digital delay, unraveling momentarily into slithering horizontal bands across the flat TV screen. Take Robert Greene’s bucolic fields populated with pals, poodles, and picnic fare suddenly cleared to monochromatic fields of texture. A lot has changed for the artist and New York since Greene first took a seat in his Corinthian backed Fornasetti chair with BOMB in 1989.
PODCAST In his latest collaborative dance piece In I, Akram Khan invites actress Juliette Binoche to dance out a highly charged romance against a pared down domestic theater set by Anish Kapoor. For Khan, dance provides a means to not only reveal, but to relive personal experience on stage.
In his latest show at Nicole Klagsbrun Gallery, photographer Barney Kulok leaves his camera behind to picture how we are constructing an invisible territory in the wireless domain.
Often the most theoretically interesting music is more exciting on paper than as real sound, but this is not the case for Glenn Branca’s work. Accompanying his tendency for formal experiment—he adamantly rejects the idea that all music has become pastiche is the engaging intensity that made his short-lived no wave band Theoretical Girls so well thought of.
Frame, time, narrative, action—is this the language of painting or cinema? Whether it started with Barthes, Bacon, Buñuel, or (cut to slow motion) Warhol; and whether the screen is silver, silk, or canvas, the developments and history of the two media are undeniably intertwined. In an attempt to unravel the ties, BOMB On the Inside: On the Scene presents a two part series in conversation with Angela Dufresne and Amy Longenecker-Brown. From their painter’s perspective, film means painted surface and celluloid…ever viscous and visceral.
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