To receive BOMB Magazine on behalf of your institution for only $28, order directly online with this Google Checkout button:

Why should your institution include BOMB in its collection?

• BOMB is a tactile and textured reading experience, printed on three different paper stocks and with a literary supplement bound into its center

• BOMB interviews are primary source material for researchers, highly cited in academic papers, articles, and online journals worldwide

• BOMB content covers both emerging and established artists, with direct, unfiltered access to their creative practice and process

• The BOMB Archive was purchased for inclusion in Columbia University’s Rare Book & Manuscript Library in 2004

• The BOMB Archive has twice been awarded an NEA Preservation Grant for excellence

 

We encourage your institution to include BOMB Magazine in its library. For over 30 years, BOMB’s non-profit mission has been to deliver the artist’s voice through carefully developed dialogues between academics, theorists, writers, visual artists, composers, directors, and architects, revealing their ideas, their thoughts, and creative processes. Our interviews are legendary, used by students, scholars, and researchers worldwide who want direct access to artists’ and writers’ words. Many of BOMB’s Contributing Editors—professional artists, theorists, and writers who are also professors—use BOMB regularly in their syllabi. Here’s what some of them have said:

 

“It will always be of inestimable historical value to have provided these intimate glimpses into the personal centers of the creative process. But the interviews will have that value just because they are not merely documents for future reference. The interviews refer to the culture in its fluid and formative state, and in this way contribute to its direction. In and through them the culture encounters itself…. There are plenty of venues for interpretation, but the task that BOMB has preempted on behalf of the culture is to help it find its bearing though understanding those who are helping it change.”

—Arthur Danto, Emeritus Johnsonian Professor of Philosophy, Columbia University

 

“No other magazine, no other source of any kind, consistently advances so much vivid and indispensable intelligence into how art actually gets made in America and around the worlds as BOMB. Their artist-to-artist conversations reinvented the artist interview as an instrument for craft and collaborative autobiography, and exemplify the traditions of practitioner criticism at our contemporary best—experienced, canny, empathetic, dramatic, and revelatory.”

—Robert Polito, Director, New School Graduate Writing Program

 

“BOMB is one of the most substantive, ceaselessly interesting publications in existence. I’ve been reading it since the mid-80s and it has been of immense benefit to me as an artist and person, connecting me to other art forms and ways of thinking I would not otherwise be aware of. BOMB is a unique force for benevolence and intelligence in a world that needs both those qualities desperately.”

—Mary Gaitskill, novelist, essayist, and professor of creative writing at Syracuse University

 

“[BOMB] is a bombshell of ideas that grow and heal rather than harm…you just have to follow the thread to find how much one is lifted up by strong ideas, an explosion in the midst of difficult times. I think it is the interview format, artist to artist, that makes BOMB so particular, so useful, so much fresher than anything else. That and the generosity of range in the artists they feature, that is in itself a sign of genius, to embrace more than we already understand. BOMB is the only non-critical, in the dullest sense, and yet the sharpest minded arts magazine I know, and it is an immensely treasured resource for hearing the real voices of artists and learning more about our culture and time. I count its arrival as an opening and a refreshment, and what I have read has been more than a value, but also a joy.”

—Emmett Gowin, Professor of Photography in the Council of the Humanities, Princeton University

 

“Long before I imagined writing for, or being written about in, BOMB, I faithfully read the magazine for education and delight, for a chance to eavesdrop on some of the world’s best conversations, and to understand what artists, especially those who work in a field unlike my own, think and dream about, how they conceptualize and complete their work. There’s nothing else like it. Nothing else offers readers the same opportunity to learn, up close and in depth, about the process of making art. I save my back issues of BOMB and return to them for information and inspiration, for a way to understand the working processes and the work of some of this century’s greatest artists.”

—Francine Prose, novelist, essayist, and professor of creative writing at The New School

 

“BOMB Magazine is a phenomenal resource and archive of interviews with visual artists. For the last 15 years in both my graduate and undergraduate teaching at UCLA, I have had my students interview each other, using BOMB as their template. What can be gathered from an interview with an artist is such a different level of insight than can be seen in critical writings. For young artists, the interview format is extremely important, and it is crucial that BOMB be widely distributed and available.”

—James Welling, Professor of Photography at University of California, Los Angeles

 

“For over 28 years, BOMB has afforded those students interested in contemporary art the invaluable opportunity to listen at the key-hole to some of the most important voices in the arts. The voice of the ARTIST is perhaps one of the most important things for a student. To be able to understand how an artist thinks about their work, how an artist engages in conversation about their process gives students an important model for their own intellectual development. It makes those artists whose work they have read about or seen come alive. It gives them a voice in the first person.I know from first-hand experience that my students find Bomb to be invaluable––copies of the magazine are handed about, they are constantly searching its website and archive––topics are debated and insights offered. In other words, BOMB offers them first-hand access to the world they dream about being a part of.”

—Saul Ostrow, Chair of Visual Arts and Technologies at The Cleveland Institute of Art

 

“BOMB is a thing people like to pick up because it feels like LIFE magazine with Warhol in it, and it feels revolutionary, and it feels good, for reasons that can’t be elucidated.”

—Padgett Powell, University of Florida

 

“In his great poem, “Among School Children,” W. B. Yeats gloriously asked “O body swayed to music, O brightening glance, /How can we know the dancer from the dance?” Not to put too dull a gloss on those lines, it seems fair to me to say that no periodical reveals more about who in the arts is spiritedly dancing today, and what their dances are actually like, than BOMB magazine. And it does this while always respecting the complex unity that an artist and his or her work so mysteriously embody.”

—Tod Papageorge, Photographer, Professor, Yale School of Art

 

Join the following distinguished institutions that currently subscribe to BOMB: Smithsonian, Guggenheim Museum, Rhode Island School Of Design, International Center of Photography, Museum Of Modern Art, Pratt Institute, Tate Britain, Whitney Museum American Art, Carnegie Mellon, Centre Pompidou, El Museo del Barrio, Harvard University, Stanford University, Princeton University, MIT, Bennington College, Columbia College, Getty Research Institute, and Williams College

 

INSTITUTION SUBSCRIPTION INSTRUCTIONS:

To receive BOMB Magazine on behalf of your institution for only $28, order directly online with this Google Checkout button:

Or send a check for $28 made out to BOMB Magazine to: BOMB Subscriptions / PO Box 23024 / Jackson, MS 39225

If your institution subscribes through EBSCO, login to add a BOMB subscription through your EBSCONet account at http://ebsconet.com/ or you may directly contact your local EBSCO representative.

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