Full House Head presents mind-numbingly blissful tracks, and uses repeated riffs to create a long, loud, monolithic album.
Andrew Lampert reviews Between Artists, a sprawling and insightful dialogue between experimental artist-filmmakers Thom Andersen and William E. Jones.
Roxanne Carter’s new novel explores the space between desire and shame in the eerie glow of a television screen.
Stefanie Sobelle on poet Muriel Rukeyser, whose only novel demands an awareness of the inextricable link between poetry and politics.
Rodolfo Walsh’s true-crime novel, the first of its kind, exposes the concealment of truth in Perón’s Argentina with courage and clarity.
Anfang Gut. Alles Gut. takes on the task of reimagining Russian Futurist opera without the burden of nostalgia.
A new book, Beyond Process, by Susan Richmond, examines the “specific objects” and artistic antics of Lynda Benglis, whose complexity and risk-taking defied convention.
Carl Hazlewood’s photography, installations, and constructions are both solid and sensuous, poetically exploring what it means to be “culturally black” in today’s society.
Betsy Sussler, BOMB’s Editor-in-Chief, remembers dear friend and BOMB co-founder Sarah Charlesworth.
Cecilia Vicuña on how Violeta Parra, the subject of Andrés Wood’s new film, Violeta Went to Heaven, changed the way she understood Chilean sound.
Lytle Shaw on Gordon Matta-Clark’s exploration of light, air, and latent spaces in Conical Intersect (1976).
Fill the Void, the first feature film by Israeli writer-director Rama Burshtein, tells the story of an ultra-Orthodox Hassidic community with compassion, sensitivity and humor.
A new book, Tabboo!: The Art of Stephen Tashjian, documents Tashjian’s 20-plus years of work in the changing New York art scene.
Christa Wolf’s final book explores the collapse of physical and psychological borders in post-Cold War Germany.
Iris Has Free Time, a debut novel by Iris Smyles, combines quixotic zeal with humor and honesty.
Poet Wendy Lotterman on the collected works of Clark Coolidge.
Adrienne Truscott’s performance . . . Too Freedom . . . is a study of with-ness, abstracting and re-materializing the physicality of work.
Joanna Malinowska reflects on sculptor Alina Szapocznikow’s MoMA retrospective and rapport with Ryszard Stanisławski.
Filmmaker Su Friedrich’s Gut Renovation takes on the geographic “war zone” that is Williamsburg.
Artist Michael Smith looks back on the self-assimilation and intersecting practices of Andy Kaufman and Stuart Sherman.
Raúl Ruiz’s film, Night Across the Street, is an ode to antiheroic characters, and feels more like a coded public message than a late-style work.
Listening to Scott Walker’s new album, Bish Bosch, is like a library, or Bugs Bunny, or hearing the drums of dissent, suggests Callahan.
’Pataphysics: A Useless Guide, a theological pseudoscience, defines hand gestures as providing access to the divine, and others as blasphemy.
One of Mexico’s most important conceptual artists, Ulises Carrión, is also one of the most overlooked. BOMB Senior Editor Mónica de la Torre is moved to child-speak over poems might seem gibberish, but are instead Cage-like koans.
David Greenspan’s plays are at once grotesque and beautiful; they pontificate on meta-theater and self-consciousness, while remaining familiar and intimate.
Lucy R. Lippard collects the history of Conceptual Art in this polyphonic text.
Corey and Nagy explore the linguistic territories of the Postmodern Pastoral in The Arcadia Project.
Sung Hwan Kim’s The Tanks at Tate Modern uses mixed media to challenge reality, and how the artist and the viewer are both figments of the imagination.
Russ follows the instructions of The Cruise, a “floating audio film,” which directs its listeners to follow Maja Sweeney on a monologue through the mind.
Gordon Monahan’s book, Seeing Sound, is a trilingual, experimental text which presents his catalog of work dating from 1978 to 2011.