BOMB 124/Summer 2013
Artist John Pilson talks to seasoned provocateur Alix Pearlstein about her ability to create conflict and tension between the camera and viewer in her video work.
Artist and curator, Legacy Russell, chats with artist Oscar Murillo about painting, parties, and the duality of meaning in his work.
Feher pinpoints the exact moment when he discovered that to be an artist meant to believe “I was right, even when I was wrong.” His new work is on view at Diverse Works in Houston from January 19 to March 16.
Fanny Howe on “looking up from under,” religion, and Radical Love, a collection of her most important, most experimental, novels.
Mark Z. Danielewski on the shapes, colors, music, and musicality of literature.
Romanian new wave director Mungiu’s Beyond the Hills, is a naturalistic tale of escalating tension between a young nun and her visiting friend (and former lover). The film is out now.
Muhly chats with fellow composer, and Pulitzer Prize winner, David Lang about his recent work, love fail, and his uncanny ability of capturing deceptively complex emotions in his music.
If ensemble theater group Rude Mech’s ethos was a draw for Radiohole’s Dyer, their bacchanalian re-creation of the Performance Group’s Dionysus in 69 clinched the connection.
Ellen Berkenblit examines the playful elements and limitless boundaries of Dasha Shishkin’s drawings.
Poet Kim Rosenfield chronicles her encounter with Erica Baum’s evocative “Naked Eye Anthology.”
Iraqi Artist Ahmed Alsoudani discusses the dichotomy behind Gunther Uecker’s intense and provocative installations.
Read Karen Green’s “Bough Down,” a blend of prose poetry and collaged images.
This First Proof contains the poem “Data Harbor” by Daniel Borzutzky.
This First Proof contains four poems by Lewis Warsh.
This First Proof contains the short story “Mrs. Job in Connecticut,” by George Minkoff.
This First Proof contains photographs by Horst Ademeit.
This First Proof contains the short story “Q23,” by James Hannaham.
This First Proof contains the short story “The Father,” by Trey Sager.
This First Proof contains three poems by Suzanne Wise.
Two sketches by Anders Nilsen.
A portfolio of work by artist Daniel Bozhkov.
Listening to Scott Walker’s new album, Bish Bosch, is like a library, or Bugs Bunny, or hearing the drums of dissent, suggests Callahan.
Lucy R. Lippard collects the history of Conceptual Art in this polyphonic text.
Raúl Ruiz’s film, Night Across the Street, is an ode to antiheroic characters, and feels more like a coded public message than a late-style work.
Corey and Nagy explore the linguistic territories of the Postmodern Pastoral in The Arcadia Project.
David Greenspan’s plays are at once grotesque and beautiful; they pontificate on meta-theater and self-consciousness, while remaining familiar and intimate.
One of Mexico’s most important conceptual artists, Ulises Carrión, is also one of the most overlooked. BOMB Senior Editor Mónica de la Torre is moved to child-speak over poems might seem gibberish, but are instead Cage-like koans.
’Pataphysics: A Useless Guide, a theological pseudoscience, defines hand gestures as providing access to the divine, and others as blasphemy.
