Painter Richard Hull interviews artists Jim Nutt and Gladys Nilsson in their Chicago home. Check out an audio excerpt from their conversation about El Greco, Chicago Imagism and the Hairy Who.
Feinstein talks with fellow painter Lieberman about The Estate of Rochelle F., a project for which she utilized only materials already present in her studio. Her new work is at On Stellar Rays through April 28.
An excerpt from Tristan Garcia’s Hate: A Romance. This article is only available in print.
Pulitzer Prize–winner Rae Armantrout on her new book of poetry, Money Shot, and its dealings with value—in life, porn, and capitalism—through an email exchange with poet Ben Lerner.
Paris-based novelist Tristan Garcia, a philosopher by training, speaks with another philosopher, Sandra Laugier, about how ideas, ethics, and sex get entangled through the vivid characters in his first novel, Hate: A Romance.
Apichatpong Weerasethakul’s Uncle Boonmee Who Can Recall His Past Lives, won the 2010 Palme d’Or at Cannes. Lawrence Chua talks to the filmmaker about Thai history and its ghosts.
The Bug is Kevin Martin, the influential London-based musician/producer who, under the spell of the voices and rhythms of Jamaican dancehall, helped spawn a new era of dance-floor experimentation—as told to Jace Clayton.
Israeli artist, Omer Fast, tells us about watching Claudia Joskowicz’s video art from his laptop at London’s Heathrow airport.
Sabine Russ discusses JJ Peet’s “radical, self-perpetuating, and elaborate” systems of creating art under self-imposed restrictions. Peet’s Defend_Station is at On Stellar Rays in New York now.
New York artist Bruce Pearson visits John O’Conner’s Long Island City studio, to better understand the relationship between artificial intelligence, hair loss, military operations and O’Conner’s drawings.
This First Proof contains excerpts from Robert Seydel’s forthcoming Book of Ruth. For copyright reasons, this content is available in print only.
An illustrated book review of The Letters of William S. Burroughs, by musician and illustrator, Peter Blegvad.
This First Proof contains the poem Auto-Tune, by Ben Lerner. For copyright reasons, this content is available in print only.
This BOMB Specific contains artwork by David Herbert & Thordis Adalsteindottir. This content is available in print only.
This First Proof contains the short story Born on October Fourth, by Armando Suárez Cobián. For copyright reasons, this content is available in print only.
This First Proof contains the series of paintings New Alphabet by artist Marina Adams, accompanied with poems by Norma Cole.
This First Proof contains the short story “Saint Jerome & the Dumpster Girls” by Ben Ristow. For copyright reasons, this content is available in print only.
This First Proof contains three stories by Chiara Barzini. For copyright reasons, this content is available in print only.
This First Proof contains two poems by the winner of BOMB’s 2010 Poetry Prize, Matt Reek. For copyright reasons, this content is available in print only.
Fiction for Driving Across America In the tenth installment in BOMB’s literary podcast series, listen to Ben Ristow read his short story “Saint Jerome & the Dumpster Girls,” originally published in BOMB 114.
Pendleton, whose new work is on view now at Pace Gallery, discusses the connection between civil protest and live art with poet Thom Donovan.
A review of 20 Years, a LP + 3 CD compilation spanning two decades of audio from Richard Youngs and Simon Wickham-Smith. This article is only available in print.
Michael Schmelling made a book called Atlanta, a photo book about the Atlanta hip-hop scene. Then Richard Maxwell wrote a review of it.
A review of Carlos Cruz-Diez in Conversation with Ariel Jiménez, a book that chronicles an encounter between Venezuelan critic Ariel Jiménez and his countryman artist Carlos Cruz-Diez.
Changing the Subject doesn’t live up to its title, it consumes it. Though the stories make high use of syntactical or symbolic repetitions, they are also powerfully digressive, hallucinatory.
Correspondence Course collects the expansive and borderless epistolary world of Carolee Schneemann, whose multi-form work has fearlessly engaged mind and body for over 50 years.
Ralph Lemon’s How Can You Stay in the House All Day and Not Go Anywhere is as uncontainable as it is elusive. How can a dance that pretty much denies its existence as dance, a “no dance” of “no style,” be written about?
A review of How to Wreck a Nice Beach, a new book that tells the history of that most mysterious of musical instruments, the vocodor.
The Library of America, doing what it does best, offers six of Ward’s groundbreaking woodcut novels from the 1930s in a beautifully printed two-volume set.
The vast rewards offered by the films of Nagisa Oshima, exemplified by the strange, unclassifiable Merry Christmas, Mr. Lawrence, are just beginning to be appreciated in America.