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25-409: Bomb was launched in 1981 by a group of New York City-based artists, including Betsy Sussler, Sarah Charlesworth , Glenn O'Brien , Michael McClard, and Liza Béar , who sought to record and promote public conversations between artists without mediation by critics or journalists. The name Bomb is a reference to both Wyndham Lewis ' Blast and the fact that the magazine's original editors expected

50-483: A 1990 interview that she had not really thought of herself as a photographer. She stated, rather, that she viewed her work as investigating questions about the world and her role in it, but realized as of that point that she had been investigating those questions through the medium of photography for the past twelve years. In 1975, Charlesworth and fellow conceptual artists Michael Corris , Preston Heller, Joseph Kosuth , Andrew Menard, and Mel Ramsden founded The Fox ,

75-467: A cutout picture of a single object, including a gold bowl and a statue of a Buddha – are photographed against bright, laminated monochrome backgrounds that match their lacquered frames. In the series Renaissance Paintings and Renaissance Drawings (both 1991), Charlesworth combined imagery from disparate Italian Renaissance paintings and drawings to make new, often ironic paintings and drawings. Charlesworth began to photograph actual objects only in

100-457: A magazine dedicated to art theory, but the magazine only remained in publication until 1976. Along with Glenn O'Brien , Betsy Sussler, Liza Bear , and Michael McClard, she co-founded BOMB magazine in 1981. Charlesworth also created the cover art for the very first edition of BOMB magazine. Charlesworth worked in series, exploring one idea to its conclusion. For a series called Modern History (1977–79), she photographed, at actual size,

125-645: A work of conceptual art devoid of text, was a 50-print study of the Solomon R. Guggenheim Museum . Prior to that she studied under Douglas Huebler at Bradford College. After completing her degree, she studied briefly under the photographer Lisette Model at The New School . After college, she worked as a freelance photographer and became active in downtown Manhattan art circles. Charlesworth had two children with her former husband, filmmaker Amos Poe ; Nicholas T. Poe (b. 1985) and Sarah-Lucy C. Poe (b. 1988). Charlesworth worked in photographic series, but stated in

150-672: The John Simon Guggenheim Fellowship Award for Visual Art (1995). Michael Corris Michael Corris is an artist, art historian and writer on art . He is professor emeritus of art, Division of Art, Meadows School of the Arts, Southern Methodist University , Dallas, Texas, United States. Previously, Corris held the post of Professor of Fine Art at the Art and Design Research Center, Sheffield Hallam University ( Sheffield , United Kingdom). From 2005-6, he

175-690: The Museum of Fine Arts, Boston ; Museum of Contemporary Art , Los Angeles; the Walker Art Center , Minneapolis; Pérez Art Museum Miami , Florida; Brooklyn Museum ; Victoria and Albert Museum , London; Israel Museum ; and the National Museum of Women in the Arts , among others. In 2012, the Art Institute of Chicago acquired the complete series (14 photographs) of her over-lifesize series Stills (1980), and in that year as well,

200-699: The Museum of Modern Art acquired her 27-photo piece Movie-Television-News-History (1979). Her work is also included in many university collections including the Princeton University Art Museum , Yale University Art Gallery and Berkeley Art Museum . Charlesworth received several grants from the National Endowment for the Arts (1976, 1980, 1983) as well as from the New York State Creative Artists Public Service (1977) and

225-484: The New York Public Library for images of people plunging through the air, having jumped out of a windows to commit suicide or because of a catastrophe like fire. After appropriating the photograph, she would crop or tear it, often leaving the edges ragged so that it appeared to be haphazardly torn like a homemade clipping. She would then rephotograph the image and enlarge it. Charlesworth later expanded

250-682: The School of Visual Arts , and Hartford University . Before her death she taught Master Critique in the MFA Photography, Video and Related Media Program and The School of Visual Arts. A major influence on a new generation of artists, including Sara VanDerBeek and Liz Deschenes , she was appointed to the faculty of Princeton University in 2012. She lived and worked both in New York City and in Falls Village, Connecticut , at

275-1355: The Victoria and Albert Museum ( London ), Le Consortium ( Dijon ) and the J. P. Getty Museum ( Los Angeles ) [2] . Corris lectures and publishes on the subject of late-modern and contemporary art [3] . Corris’s art criticism has been widely published in journals and magazines devoted to modern and contemporary art, such as Art Monthly, Artforum , FlashArt, Art History, art+text and Mute. In addition, his critical writings have been included in several collections, most notably Alex Alberro and Blake Stimson (eds), Conceptual Art : A Critical Anthology (MIT Press) [4] and John Roberts (ed), Art Has No History! (Verso Press). Corris's most recent publications include: Conceptual Art: Theory, Myth and Practice (Cambridge University Press, 2004) [5] , monographs on David Diao (TimeZone8 Books, Beijing, 2005) and Ad Reinhardt (Reaktion Books, London, 2008), Non-Relational Aesthetics (Artwords Press, 2008)(with Dr Charlie Gere), and Art, Word and Image: 2,000 Years of Visual/Textual Interaction (Reaktion Books, London, 2010)(with John Dixon Hunt and David Lomas) [6] [7] . In an October 2008 interview with Joan Waltemath published in The Brooklyn Rail , Corris discusses his book, Ad Reinhardt , which

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300-1255: The African descent, conducted by curators, scholars, and cultural producers. The Oral History Project is dedicated to collecting, developing, and preserving the stories of distinguished visual artists of the African Diaspora. The Oral History Project has organized interviews including: Wangechi Mutu by Deborah Willis , Kara Walker & Larry Walker, Edward Clark by Jack Whitten , Adger Cowans by Carrie Mae Weems , Jeanne Moutoussamy-Ashe by Kalia Brooks, Melvin Edwards by Michael Brenson, Terry Adkins by Calvin Reid, Stanley Whitney by Alteronce Gumby, Gerald Jackson by Stanley Whitney, Eldzier Cortor by Terry Carbone, Peter Bradley by Steve Cannon, Quincy Troupe & Cannon Hersey, James Little by LeRonn P. Brooks, William T. Williams by Mona Hadler, Maren Hassinger by Lowery Stokes Sims , Linda Goode Bryant by Rujeko Hockley , Janet Olivia Henry and Sana Musasama by Stephanie E. Goodalle. Sarah Charlesworth Sarah Edwards Charlesworth (March 29, 1947 – June 25, 2013)

325-631: The Conceptual art group, Art & Language , in New York; his work was published in 1973 in the group’s journal, Art-Language. With Mel Ramsden, Ian Burn, Joseph Kosuth , Sarah Charlesworth and others, Corris was a founding editor of The Fox; an artists-run journal that addressed the political and social dimensions of contemporary artistic practice. Following the dissolution of Art & Language in New York in late 1976, Corris continued to pursue his artistic practice, dividing his energies between

350-402: The early 1990s. Her series The Academy of Secrets is Charlesworth's attempt to convey her emotions through using abstracted images of objects that have symbolic associations. She illustrated how the way light falls on objects affects our perceptions of them as the subject of her own 2012 solo exhibition Available Light. Charlesworth held various teaching positions at New York University ,

375-475: The final work were printed at the same size as the original newspapers. In February 1980, Charlesworth created Stills , a series of harrowing, six-and-a-half-foot-tall photographs depicting bodies falling from buildings. When Stills was first shown in 1980 in Tony Shafrazi 's East Village apartment, it consisted of seven images. To create the series, Charlesworth scoured news wires and the archives of

400-496: The front pages of 29 American and Canadian newspapers and blanked out everything except for their photographs and mastheads. For Movie-Television-News-History (1979), a part of the series, Charlesworth selected a specific event – the shooting of American journalist Bill Stewart by the Nicaraguan National Guard – and presented it as it was reported on June 21, 1979, in 27 American newspapers. All images in

425-503: The poet, Emmanuel Navaretta. In 1970, Corris was awarded a scholarship to attend the prestigious summer program in art at the Skowhegan School of Painting and Sculpture , where he had contact with Kenneth Noland , Jacob Lawrence , Brice Marden and David Diao. For his research on the work of Ad Reinhardt, Corris was awarded a PhD in the history of art in 1996 by University College London. Corris began working in late-1971 with

450-476: The production of artist's books inspired by typographic design and lecturing and writing on contemporary art and art theory [1] . As a member of Art & Language and as an individual artist, Corris's work has been widely exhibited internationally and is part of the permanent collection of, among others, the Museum of Modern Art ( New York City ), the Whitney Museum of American Art ( New York City ),

475-833: The publication to "bomb" after one or two issues. Shortly after its founding, Bomb formed a 501(c)(3) non-profit organization, New Art Publications, Inc., which publishes the journal. In 2005, the Bomb offices moved from the SoHo neighborhood of New York City , New York , to Fort Greene, Brooklyn . By December 2019, Bomb had published one hundred fifty issues. In 2004, Columbia University 's Rare Book and Manuscript Library acquired Bomb 's archives, including twenty-four years' worth of audio recordings, raw and edited interview transcripts, manuscripts, galleys, and assorted ephemera. Since 2014, Bomb 's Oral History Project has staged one-on-one interviews with New York City-based visual artists of

500-434: The series, printing an eighth work from her original source material in 2009 and – as a commission of the Art Institute of Chicago – creating a set of six new ones from the original transparencies that were never printed. Each gelatin silver print was made and mounted to the exact specifications of those she created in 1980. In her "Objects of Desire" series (1983–1988), Cibachrome prints of appropriated images – typically

525-611: The time of her death. Charlesworth died of a brain aneurysm on June 25, 2013, at the age of 66. Charlesworth's work was the subject of more than 40 solo exhibitions at venues including the Centre d'art contemporain, Geneva (1977), the Queens Museum of Art , New York (1992), and the Art Institute of Chicago (2014). A 1998 survey organized by SITE Santa Fe in Santa Fe, New Mexico, toured to four additional museums. Her work

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550-671: Was a Visiting Professor of Art Theory at the Bergen Art Academy ( Bergen , Norway). Corris received his baccalaureate and master's degrees in the United States, studying studio art and art history at Brooklyn College under Harry Holtzman , Jimmy Ernst , Walter Rosenblum , Sylvia Stone , Philip Pearlstein and Carl Holty ; and later, painting and art theory at the Hoffberger School of Painting, Maryland Institute College of Art under Grace Hartigan and

575-504: Was an American conceptual artist and photographer. She is considered part of The Pictures Generation , a loose-knit group of artists working in New York in the late 1970s and early 1980s, all of whom were concerned with how images shape our everyday lives and society as a whole. Charlesworth was born in East Orange, New Jersey . She received a Bachelor of Arts degree from Barnard College in 1969. Her undergraduate thesis project,

600-540: Was an extension of his doctoral work, investigating the artist's relationship to the American Communist movement and focusing "on the period 1935-1950 in Reinhardt’s life, detailing his relationship to the politics of the left and providing the first comprehensive survey of his political illustrations and cartoons for publications like New Masses and Soviet Russia Today ." In April, 2010, Corris founded

625-604: Was included in the Whitney Biennial (1985) and the Venice Biennale (1986). In 1995, she cocurated Somatogenies at New York's Artists Space with fellow artists Cindy Sherman and Laurie Simmons . Charlesworth's work is included in the collections of many museums around the world, including the Metropolitan Museum of Art ; the Whitney Museum of American Art : the Museum of Modern Art ;

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