BOMB 123/Spring 2013
Sculptor Steinbach considers the arrangement of objects in his shelf installations to be a form of language. The final month of a season dedicated to Steinbach’s work is up now at The Artist’s Institute.
McElheny’s blown glass work explores the unrealized potential of utopian projects through allusion and deconstruction. Josiah McElheny: Towards a Light Club is at the Wexner Center in Ohio through April 7.
Multi-media artist Raven discusses her interest in the technology and labor behind the moving image, and her new project at the Hammer Museum, with Jason Simon.
Translator Grossman and Manrique discuss the writer’s early influences, the importance of history, and his most recent novel, Cervantes Street.
Andersen and Moore exchange thoughts on her virtuosic body of work and mathematical approach to novel-writing.
Ben Chasny’s experimental project 6 Organs of Admittance has a new electric album, Ascent, out now. Chasny’s bandmate in Rangda (and former Sun City Girl) Sir Richard Bishop sits down with the guitarist.
Cantor, who directed Herzog’s The Great God Pan, talks to the playwright about creating characters who are “passionate, interesting, and unfailingly honest.” Herzog was just named The New York Times Outstanding Playwright.
Gutierrez’s And lose the name of action is at the Brooklyn Academy of Music through December 8. Houston-Jones, who performs in the piece, speaks with the choreographer about collaboration and the importance of casting.
Weinrib describes the intensity of her encounters with Howe’s shifting, evocative, figurative paintings.
O’Connor reflects on the sculptural work of Katie Bell with a collage of text and color.
Hauser visits White at her studio where the artist blends elements from the past and present akin to the layers of history one encounters in the billboards, buildings, and graffiti on the street.
This First Proof contains the short story, “All That You Aren’t but Might Possibly Be,” by Suzanne Scanlon.
This First Proof contains the short story, “Boys,” by Ben Ehrenreich.
This First Proof contains four poems by Pedro Serrano.
This First Proof contains four poems by Daniel Poppick.
This First Proof contains the short story, “Kixote Becomes Kixote,” by Charlie Smith.
This First Proof contains a series of drawings by Anne Gilman.
This First Proof contains selected photographs by Barney Kulok.
This First Proof contains the short story, “The Giant Baby,” by Laurie Foos.
This First Proof contains two poems by Calvin Bedient.
This BOMB Specific contains artwork by EJ Hauser.
Fischli and Weiss press an editorial eye on airports as destination, and not simply as a stopping point to a destination.
Editors Jed Rasule and Tim Conley compile more than 500 pages of poetry by avant-garde aesthetes and their literary experiments from 1910 to 1940.
Faking It: Manipulated Photography before Photoshop is a catalogue for the exhibition Mia Fineman curated on early photographers’ efforts to revise their original photographs.
Infinite Jest, David Foster Wallace’s monumental tome is performed over a period of 24 hours in ten different locations in Berlin.
Sensations’ Fix rare ’70s space-rock album is now widely available for release. Along with including unreleased music for a never-made or imaginary film, these tracks put Sensations’ Fix in a category of a band that sounds like no other.
Gordon Monahan’s book, Seeing Sound, is a trilingual, experimental text which presents his catalog of work dating from 1978 to 2011.
Russ follows the instructions of The Cruise, a “floating audio film,” which directs its listeners to follow Maja Sweeney on a monologue through the mind.
Sung Hwan Kim’s The Tanks at Tate Modern uses mixed media to challenge reality, and how the artist and the viewer are both figments of the imagination.
