German artist Von Heyl’s puzzling paintings rely on what she calls “cringe factor.” Fellow abstract painter Kaneda uncovers the unstable tendencies and surprising juxtapositions at the core of Von Heyl’s work.
Shields, author of the much-debated book on appropriation, Reality Hunger: A Manifesto, used the epistolary method, via email, to discuss the influence of California’s counterculture on Tomaselli’s visionary paintings.
Artist Rottenberg builds mini-factories for her video sets, where fetish workers produce elemental products such as lemon-scented sweat and maraschino cherries. Her work is up at Mary Boone through 12/18.
Hirschhorn’s site-specific, hyper-saturated installations enjoy what he calls “wastefulness as a tool or weapon.” His work is currently up at Gladstone Gallery.
With human-rights activist Sameer Padania, British psychoanalyst and prolific essayist Adam Phillips free-associates on topics addressed in his new collection, On Balance: fundamentalism, excess, and the shortcomings of liberalism.
Charlie Smith’s latest novel, Three Delays, is an account of the partings and reconciliations of two lovers on the fringes of the American mainstream. In the course of their conversation, Reed and Smith agree on one point: redemption is an illusion.
No-Neck Blues Band’s Keith Connolly queried David Toop on inchoate listening, eavesdropping, and the uncanny—as contemplated in Toop’s new book, Sinister Resonance: The Mediumship of the Listener. From the current issue, BOMB 114, Fall 2010.
Belgian director and playwright Jan Lauwers of Needcompany in discussion with fellow dramatist Elizabeth LeCompte of The Wooster Group on the parallel lives of their respective companies and the upcoming performance of The Deer House at BAM.
Monika Baer’s paintings combine deliberately rendered images, often suggesting the humorous, with slurred areas that seem like a calculated concession to impulse.
In her recent video series, Folklore, Patricia Esquivias presents narratives of recent Spanish history segmented by connections and musings of her own.
Recent works by Michael Ballou have a solid practicality, but verge on the enchanting and sinister. Ballou has altered three spaces in the Brooklyn Museum with site-specific installations, on view though July.
This First Proof contains several water color pieces by Judith Hudson. For copyright reasons, this content is available in print only.
This First Proof contains two drawings from 21 Love Poems and the short story “The Fried Tale (London Zoo)” by Caroline Bergvall. For copyright reasons, this content is available in print only.
This First Proof contains the short story “Dying Is All I Think About” by Alissa Nutting. For copyright reasons, this content is available in print only.
This First Proof contains the short story “Endurance” by Steve Tomasula. For copyright reasons, this content is available in print only.
This First Proof contains four poems by Patrica Spears Jones. For copyright reasons, this content is available in print only.
This First Proof contains the short story “Half-Life” by Mark Slouka. For copyright reasons, this content is available in print only.
This image by Dread Scott appeared in BOMB 113, Fall 2010. This article is available in print only.
This First Proof contains the poem “i am writing to inform you of what i am doing” by Christian Hawkey. For copyright reasons, this content is available in print only.
A collection of essays examining the cultural, social and political manifestations of both literal and metaphorical masquerade.
Gaspar Noé’s new film is a psychedelic experience of Tokyo shown through the eyes of the deceased protagonist.
Full House Head presents mind-numbingly blissful tracks, and uses repeated riffs to create a long, loud, monolithic album.
After designing and building what he regards as an improved M16 in his studio, Jameson Ellis reduced the act of firing a gun to “pure functionality” at the Salomon Contemporary.
An exhibition of photographs from three series, exploring absence, decomposition and dislocation. Shot in Cape Town and New Orleans, subjects vary from migrants in their intimate spaces, empty beds, and ruined houses.
Brandon Downing’s book of collages explores the space between visual art and poetry. His use of images from antique books gives the collection a feeling of historic Americana, both dreamlike and irreverent.
Justin Spring weaves a revealing biography of Samuel M. Steward, the novelist and professor who had hidden identities as a tattoo artist and pornographer.
Frederic Tuten’s collection of short fiction paints a world in motion. A sensitive crafting of characters and scenes reveals the adeptness of the writer of five novels.
A compilation of text, photographs, illustrations and diagrams, The Art of McSweeney’s documents the history of the unique publisher as it rose from its precarious position as a hawker of rejected stories.
In John Phillp Santos’ tale of his families origins from Spain, he sets out on a quest to discover his heritage and explores the human fascination with borders.