BOMB 119/Spring 2012
Durham channeled his ’70s activism as a member of the American Indian Movement into his artwork. Cirauqui and the artist consider stones, skeptical enchantment, and the pros of interrupting oneself.
Miller, known for his baroque paintings of consumer detritus, discusses his ongoing series of reality-TV celebrity wannabes with Liam Gillick.
WEB EXTRA VIDEO Watch a BOMB Extra Video with artist Bjorn Copeland, who’s band Black Dice has a new album, Mr. Impossible, out now.
Painter Suzanne McClelland discusses visual acoustics, marginal language and musical references with poet Barry Schwabsky.
The authors ponder the implication of immersing fiction in place—Chicago in the case of Orner’s new novel Love and Shame and Love—and non-place, as in the hypertext that accompanies La Farge’s new novel, Luminous Airplanes.
The linguistic contortions in Roussel’s work have influenced artists and writers from Duchamp to Foucault to Ashbery. Two recent translators of Roussel discuss his outlandish creations.
Fudong, known for his his elegant, puzzle-like films, speaks with curator Li Zhenhua about his latest project The Fifth Night.
WEB EXTRA VIDEO Ashley’s operas zero in on the American vernacular, finding ways to make the landscape talk. The composer reflects on the reinterpretation of Perfect Lives in Spanish, with Waterman, who’s spearheading the project.
Members of the downtown theater company share their commonalities with Occupy Wall Street and ideas on alternate uses for plastic bags.
Artist and musician Stephen Vitiello on the cerebral, imaginative responses of Jennie C. Jones to the “the physical residue of music.”
B. Wurtz on the ability of Tamara Zahaykevich’s small-scale, handmade sculptures to draw out the details of daily life.
WEB EXTRA VIDEO Artist Pedro Reyes talks to Terence Gower about his lecture video New Utopias which investigates utopian fantasies from Funkadelic to Jacques Demy to Sun Ra. Watch an exclusive clip.
This First Proof contains the short story “An Army of Lovers,” by David Buuck and Juliana Spahr.
This First Proof contains five poems by Kirsten Kaschock.
This First Proof contains four poems by Tim Griffin.
This First Proof contains the short story “Label,” by Sean Madigan Hoen, the winner of the 2011 BOMB Fiction Prize. For copyright reasons, this content is available in print only.
This First Proof portfolio contains artwork by Jimmy Raskin.
This First Proof portfolio contains artwork by Bjorn Copeland.
This First Proof contains a selection from The Flame Alphabet by Ben Marcus.
This First Proof contains the poem “Wild Before Winter,” by Romulus Linney.
Web Extra Video Watch Pinky’s Rule, by poet Charles Bernstein and artist Amy Sillman. The video is also showing at Sikkema Jenkins & Co. from March 16 through April 14.
Brainsaw, 2011, ink on paper, edited on Photoshop. Courtesy of the artist. This content is available in print only.
This BOMB Specific contains artwork by Peter Fend. This content is available in print only.
Fiction for Driving Paul La Farge reads form his novel Luminous Airplanes in the fourteenth installment of BOMB’s literary podcast series. Read a conversation between La Farge and Peter Orner in BOMB 118.
Sabine Russ maps Wolfgang Staehle’s 2001 onto 2011, tracing the painful and cathartic implications of its memory.
Mónica de la Torre interviews the late Elsa Baroness von Freytag-Loringhoven (yes, you read that correctly) in honor of the publication of Body Sweats, a collection of her uncensored writings.
Jenn Joy is confronted by the distorted anatomy and face of Heather Kravas’s Kassidy Chism.
Terence Gower opens the gray flannel cover of Stan Allen and Marc McQuade’s Landform Building, an architectural manifesto that rethinks “organic” as “geologic.”
Francisco Goldman lets himself become ensnared in the political nets Yoshua Okón’s White Russians and Octopus.
Zach Layton listens to Rhys Chatam’s return to the trumpet in Rêve Parisien, an album that features improvisation, collaboration, and a minimalist organ.
