The BOMB Print Club, inaugurated in 2006 in celebration of BOMB Magazine’s 25th anniversary, works with artists highlighted in BOMB’s over quarter century of publishing.

Prices are for US orders only. Contact Mary-Ann Monforton about international orders, and how to earn substantial discounts with a BOMB Print Club Membership: monforton (at) bombsite (dot) com or (718) 636-9100, x. 105.

The BOMB Print Club now offers FREE FedEx Shipping with any order!

 

Tom Otterness, Pink Bomb, 2006
Cast rubber and cord
3 inches in diameter x 7 inches high
Commissioned on the occasion of BOMB magazine’s 25th Anniversary
Unlimited edition
Retail price: $375

 

 

 

Joanne Greenbaum, Untitled (Black Corners), 2008
Archival pigment print on Sunset Cotton Etch
With Four Layers of Silkscreen
29×24 inches
Edition size: 30
5 AP’s, 5 PP’s, 1 BP
Printed by Fourth Estate
Retail Price: $1,600

 

 

Steve DiBenedetto, EXCAVATOR, 2007
Pigment print
19×24 inches (image), 22.5×27 inches (paper)
Edition size: 30
5 AP’s, 5 PP’s, 1 BP
Printed by Adamson Editions
Retail Price: $2,850

 

Oliver Herring, Cheryl (small) with gauze face and iridescent blades, 2007
Digital C-Print on Concorde Rag Bright White with iridescent polyester 3-D blades, museum board
16×14 x 1 ½ inches
Edition size: 30
5 AP’s, 5 PP’s, 1 BP
Printed by Hare & Hound Press
Retail Price: $2,250 (includes 3” box frame worth $150)

 

 

Iñigo Manglano-Ovalle, “If a thousand suns should rise all at once in the sky such splendor would resemble the splendor of that great Being”
Randomly generated image from Vanishing Sky, 2005–2006
Color ink jet
14×47 inches (image), 20×53 inches (paper)
Edition size: 30
5 AP’s, 5 PP’s, 1 BP
Printed by Jon Cone Studio
Retail Price: $3,850

 

Paul Pfeiffer, Four Horsemen of the Apocalypse #20, 21 and 22, 2006
Color ink jet
13 × 6 ¼ inches
Edition size: 30
5 AP’s, 5 PP’s, 1 BP
Printed by Jon Cone Studio
Retail Price: $3,600

 

 

 

 

 

 

Sharon Harper, Moon Studies and star Scratches, Rincon, P.R., 2006
Carbon ink jet/Piezography
18 ¼ x 14 ½ inches
Edition size: 30
5 AP’s, 5 PP’s, 1 BP
Printed by Jon Cone Studio
Retail Price: $2,100

 

 

Brian Tolle, Man of Characters, 2005
Carbon ink jet/Piezography
18 × 15 ½ inches
Edition size: 30
5 AP’s, 5 PP’s, 1 BP
Printed by Jon Cone Studio
Retail Price: $1,600

 

 

Artist Bios

 

Steve DiBenedetto’s finely detailed and luxurious work emanates a palpable energy. He is best known for his chromatic topographies of gnarled, tactile layers, which are scraped, gouged, and splattered to electric levels, in limbo between decomposition and unity. His paintings and drawings, described as “cerebral folk art,” are alive with organic and mechanic forms that collide to create improvisational yet obsessive structures. In 2005, he was included in a group exhibition at the Whitney Museum of American Art, “Remote Viewing,” curated by Elisabeth Sussman. DiBenedetto has been the recipient of several awards, including a John Simon Guggenheim Memorial Fellowship Award, an American Academy of Arts and Letters Award in Painting, and the Tiffany Foundation Award. He lives in New York City and has taught at Columbia University, Cooper Union, and Mason Gross School of the Arts at Rutgers University.

 

Joanne Greenbaum combines multiple techniques and colors to explore the concept of gesture outside of its expressionistic trope. Her paintings serve as surfaces upon which she performs with paint. “In fact, I make painting by building,” she states. In a 2000 BOMB Artist on Artists piece on Greenbaum, Mary Heilmann mused, “Joanne Greenbaum’s line, especially in her recent paintings, has taken on a life of its own. Freed from the work of defining edges, it has become a figure in itself, a maze, stepping round and round and back and forth, making a deep and psychedelic space. These mazes [give] one the experience of several kinds of space at the same time.”

Joanne Greenbaum shows in NY with D’Amilio Terras, in London, UK with Greengrassi Gallery and in Basel, Switzerland with Nicolas Krupp Gallery. Her paintings were included in The Triumph of Painting, Abstract America at The Saatchi Gallery, London, UK in 2007. In 2008 she will have a solo museum survey at Museum Abteiberg, Monchengladbach, Germany that will travel to Haus Konstruktiv, Zurich, Switzerland.

Greenbaum’s recent awards include: Artist in Residence, The Chinati Foundation, Marfa, TX; The Pollack-Krasner Foundation Grant; The Richard C. Diebenkorn Teaching Fellowship, San Francisco Art Institute; Michael and Nina Sundell Residency for a Visual Artist, Yaddo; Skowhegan School of Painting and Sculpture, Faculty/Resident Artist; and Rockefeller Foundation, Bellagio Study and conference center, Bellagio, Italy.

 

Sharon Harper, Assistant Professor of Visual and Environmental Studies, Harvard university, works with photography and video to record a subjective experience of landscape, exploring ways that technology mediates our relationship with the natural world and generates perceptual experiences. Her work was the subject of a solo exhibition, Sharon Harper: Photographs from the Floating World, at the Whitney Museum of American Art in 2001. She has had numerous solo exhibitions. Her work was included in the Greater New York exhibition at PS1, New York, in February 2000; On Site, Center for Curatorial Studies at Bard College; Walk Ways, a traveling exhibition sponsored by Independent Curators International; Sublime Metaphor, Oxford University Museum of Natural History; Celestial, Work Space Gallery, New York; Art on Paper, Weatherspoon Art Museum, at the University of North Carolina; and Summertime, smART gallery in Munich, Germany. Her work is in permanent collections at the Museum of Modern Art, New York; the Whitney Museum of American Art; Portland Art Museum, Portland, Oregon; and Bayerische Vereinsbank, Munich, Germany. She has been a fellow at the MacDowell Colony, Ucross Foundation, and the Virginia Center for the Creative Arts; she received a Meredith S. Moody Residency Fellowship at Yaddo and the Sam and Dusty Boynton Residency Fellowship at the Vermont Studio Center. Harper received an MFA in photography and related media from the School of Visual Art in New York in 1997 and a BA from Middlebury College in literary studies.

 

Oliver Herring is among a select group of contemporary artists rigorously exploring the dynamic relationship between photography and sculpture. Performance is central to his work and practice, such as the process of knitting, and his efforts to combine, layer and piece together photographic fragments into sculptural wholes. His work ranges from ethereal sculptures of Mylar knitted into human figures, clothing, and furniture, to open-ended stop-action videos that embrace chance, stream-of-consciousness, and the unpredictable. Herring was born in Heidelberg, Germany, and now lives and works in Brooklyn, New York. He is the recipient of grants from Artspace, The New York Foundation for the Arts, and the Joan Mitchell Foundation. He has had solo exhibitions at the Museum of Modern Art, New York; the Solomon R. Guggenheim Museum, New York; and the New Museum of Contemporary Art, New York, among others.

 

Iñigo Manglano-Ovalle is a professor, Department of Visual Arts, University of Chicago. Born in Madrid, Spain, in 1961, Iñigo Manglano-Ovalle was raised in Bogotá Colombia and Chicago, where he currently lives, teaches and maintains a studio. Much of his early work was centered on community, concerned largely with issues of migration and immigration, ethnicity and place. Manglano-Ovalle is engaged in a process of understanding how certain extraordinary forces and systems, man-made and natural, are always and already in the process of remaking the world. Over the course of the last decade, he has worked in a wide range of media-activist-inspired public art, sculpture, film, sound, and photography, all of which fuse the politics of contemporary urban culture with poetic meditations on aesthetics, history, and identity.

Today, the artist continues to embrace the interdisciplinary. Working in collaboration with geneticists, biotech researchers, legal consultants, medical ethicists, architects, composers, writers, historians, and others, Manglano-Ovalle forges a creative enterprise unrivaled among his peers in its scope and complexity. Issues pertaining to personal and collective spaces, the negotiation of borders, and social injustice, which always have been central to his project, are still present. Now, however, the artist treats these concerns in a more abstract fashion, against a larger, metaphorical landscape of passages through time, space, atmosphere, and geography, with their attendant cultures of observation and documentation.

Manglano-Ovalle is the recipient of a 2001 MacArthur Foundation fellowship, and is participating in Documenta 12, 2007.

 

Tom Otterness has upheld the age-old tradition of cast bronze figurative sculpture for over 20 years. In the process, he has played a major role in redefining the tradition. Because his sculptural ensembles grace parks, subway stations, courthouses, libraries, and museums around the country, Otterness is in the unusual position of having his work as well known by the man on the street as by the art connoisseur. Using stylized figures that resemble whimsical cartoon characters, he explores the widest possible range of human experiences from the rarified world of social commentary. By casting intimately sized figures that can be held in the hand to monumental colossi that tower over viewers, Otterness effectively utilizes scale to establish complex relationships between his sculpture and the immediate surroundings.

 

Paul Pfeiffer’s groundbreaking work in video, sculpture, and photography uses recent computer technologies to dissect the role that mass media plays in shaping consciousness. In a series of video works focused on professional sports events–including basketball, boxing, and hockey–Pfeiffer digitally removes the bodies of the players from the games, shifting the viewer’s focus to the spectators, sports equipment, or trophies won. Presented on small LCD screens and often looped, these intimate and idealized video works are meditations on faith, desire, and a contemporary obsession with celebrity. Pfeiffer is the recipient of numerous awards and fellowships, most notably becoming the inaugural recipient of The Bucksbaum Award given by the Whitney Museum of American Art (2000). In 2002, Pfeiffer was an artist-in-residence at the Massachusetts Institute of Technology and at ArtPace in San Antonio, Texas. In 2003 a traveling retrospective of his work was organized by the MIT List Visual Arts Center and the Museum of Contemporary Art, Chicago.

 

Brian Tolle has exhibited his work in galleries, museums and public spaces around the world. His projects include, Skid Rows for the Queens Museum to debut in spring of 2005, The wind doth move silently invisibly for Cleveland Public Art (2004), WitchCatcher at City Hall, New York City (2003), the Irish Hunger Memorial in Battery Park City, New York (2002), Waylay for the Whitney Biennial and the Public Art Fund in Central Park (2002), Man’s Achievement on a Shrinking Globe in an Expanding Universe for Crossing the Line, Queens Museum of Art, New York (2001) and Eureka for Over the Edges Gent, Belgium (2000). His work emphasizes a formal and iconographic dialog with history and context to produce striking and subtle works that engage the public. Using a variety of media, his works draw themes from the scale and experience of their surroundings, provoking a re-reading by cross-wiring reality and fiction. Mr. Tolle received his MFA from Yale University, BFA from Parsons School of Design and his BA from SUNY at Albany. He is currently on the graduate faculty at Parsons School of Design.