Clifford Owens spent the summer performing scores written by fellow artists at his PS1 studio. With Nick Stillman he looks back at the history of black performance art and forward to his exhibition Anthology, coming to MoMA PS1 this fall.
Sussman’s remarkable new film, whiteonwhite:algorithmicnoir is an sci-fi narrative that constantly re-edits itself. The filmmaker talks to poet Yankelvich about outdated notions of the future, Malevich and Kazakh deserts.
Lisa Yuskavage’s paintings of buxom, verging-on-grotesque beauties invariably provoke and taunt the viewer. She spoke with Mónica de la Torre about the revelation of her outsize personality in her work.
Biggers has three shows this fall: an “introspective” at the Brooklyn Museum, a solo show at SculptureCenter, and an exploration of African diaspora imagery at MASS MoCA. He discusses lineage and American history with fellow artist Terry Adkins.
Dyer’s The Missing of the Somme, a meditation on the Great War, is just out in the US. The writer discusses Tarkovsky’s Stalker, literary digression, The Man Without Qualities, and more with one of his biggest fans.
Goldsmith’s UbuWeb is the largest free archive of cross-disciplinary avant-garde art online. His latest books, Uncreative Writing: Managing Language in the Digital Age, and Against Expression each propose tactics for writing in the 21st century.
Read the unedited, raw transcript of Kenneth Goldsmith’s conversation with Marcus Boon. Like good psychologists, BOMB staff would like to remind you that all errors are intentional.
Hagerty recounts his journey from Pussy Galore to Royal Trux to his current incarnation as The Howling Hex. Their new album is The Best of the Howling Hex. It’s not a greatest hits compilation.
Eisenman founded the seminal Institute for Architecture and Urban Studies in 1967. Since then, his architectural practice has been in intense dialogue with critical theory, grappling with Derrida’s debunking of a “metaphysics of presence.”
Andrea Blum’s sculpture work rises above the plane of mere physical and material existence. Pamela Lins discusses these interactive and psychogeographic pieces.
Abby Goldstein describes the studio of Phoebe Washburn, whose new work can be seen at Josée Bienvenu Gallery through October 27.
R. M. Fischer’s reinvented style nods towards variable textures, visible seams,floppy vinyl, and a wide variety of fasteners. Artist Daniel Wiener finds the new work inspiring for the future of sculpture.
Jimbo Blachly and Lytle Shaw are the editors and guardians of an archive full of experiences and paraphernalia belonging to the elite-though-fictitious Chadwick family. An exhibition of the archive is currently on display at the Winkleman Gallery.
This First Proof contains the short story “Borders,” by Margaret Zamos-Monteith.
This First Proof contains Flash Fiction After Photographs by Jane Hammonds, including the short story “Chai Wan Four,” by Helen Phillips.
This First Proof contains four poems by Harvey Shapiro.
This First Proof contains the poem “Hello, The Roses,” by Mei-Mei Berssenbrugge.
This First Proof contains the short story “How to Crash Cannes,” by Zachary Mason.
This First Proof contains Flash Fiction After Photographs by Jane Hammonds, including the short story here “Les Baigneuses,” by Jeffrey DeShell.
This First Proof contains Flash Fiction After Photographs by Jane Hammonds, including the short story “Peacock,” by Dawn Raffel.
This First Proof contains poems by Craig Dworkin.
This First Proof contains a portfolio by Fred Valentine.
This First Proof contains five poems by Thom Donovan.
This First Proof contains three photographs by Jane Hammonds.
Dan Perjovschi, drawing, 1999–2011, variable dimensions, various techniques. Courtesy of the artist. This content is available in print only.
This BOMB Specific contains artwork by Sally Smart. This content is available in print only.
Watch a BOMB Extra Video with painter Fred Valentine, whose work is featured in First Proof, BOMB’s literary supplement.
Alan Gilbert considers the implications of the release of volume 2 of the Encyclopedia project, as well as the success of its format as creative nonfiction.
Cameron Shaw draws from examples in explaining her own connection to Lisa Pearson’s collection of work by female visual artists and writers.