Ryan McNamara’s familiarity with celebrity extends far beyond the name of his cat. With a new exhibition at Elizabeth Dee on the horizon, the artist is poised to show New York what he’s made of—and it’s not just papier-mâché. Check it out in BOMBLOG 2012.

  • Collaborations are like when you’re in high school and there are all these different types, and maybe you’re the only two or three performance artists, or maybe you’re goth, or into anime, and when you get together, you get excited about sharing this world. I’ve been really lucky to find who I’ve found so far to work with, but there are only two or three people on this planet I have this kind of relationship with. When I met Raúl it was like: This is why I moved to New York—to have this artistic dialogue.

    Raúl de Nieves and Colin Self, BOMB 2012

  • If you have ever wondered what it's like to be in a Yvonne Meier performance...

    Yvonne Meier: Some audience members would totally resist and not move at all. Some people would fight back. I think the guy from Artforum wrestled with Ishmael. Some people fell over and were buried under the boxes; some people escaped back into the maze. Somebody from the NEA came the first time and he was just dancing in the corner furiously. He was so scared to be touched.

    Suzanne Snider: He was dancing?

    Yvonne Meier: Yes, he was dancing to defend himself.

    Suzanne Snider: I can imagine someone being terrified to be picked up and carried in the dark.

  • Rachid Ouramdane, Ordinary Witnesses. Photo by Ian Douglas. Check the BOMBlog for more.

    Rachid Ouramdane, Ordinary Witnesses. Photo by Ian Douglas. Check the BOMBlog for more.

  • Meg Stuart, video still, soft wear, 2000–2001.

    Meg Stuart, video still, soft wear, 2000–2001.

  • 
Copyrighting has never really been about art. Copyrighting is about commerce, commodities. Once reason I’ve always been interested in performance art is that it isn’t easily commodifiable. 
—Clifford Owens, BOMB 117, 2011

    Copyrighting has never really been about art. Copyrighting is about commerce, commodities. Once reason I’ve always been interested in performance art is that it isn’t easily commodifiable.

    —Clifford Owens, BOMB 117, 2011