Sillman’s first museum survey opens at the ICA Boston this October.
Paulo Bruscky came of age as an artist during the military takeover of Brazil in the 1960s and ’70s. In his native Recife, he developed a body of work for the dissemination of messages—through mail art, newspaper ads, flyers, and public interventions.
Vitiello and Roden are often mistaken for each other. It might have something to do with their early interest in punk, Cage’s influence on their work, and their sound-based collaborations.
The Portuguese writer’s series are set respectively in an undefined Central European country beset by constant war, and in a mutable locale inhabited by famous authors. At their core is an exploration of history, literature, and evil.
Paul Bowles took Rey Rosa under his wing while he lived in Morocco in the ‘80s and early ’90s. Like his mentor’s, Rey Rosa’s prose is equally at home with acts of violence and with beauty. Rey Rosa discusses his native Guatemala’s legacy of fear.
Rivers’s films involve loners and small, insular communities cut off from society. His latest, A Spell To Ward Off the Darkness, was made in collaboration with Ben Russell. With fellow filmmaker Fitzgibbon, he speaks of recreating utopian visions.
Upon the release of her new album, Loud City Song, the singer and composer on her interests in the poetry of Frank O’Hara, the operas of Robert Ashley, and Colette’s novella Gigi.
Brecht’s estrangement, Artaud’s ritual theatre, Boal’s Theatre of the Oppressed, and camp inform My Barbarian’s performance work: an investigation of what constitutes transformative cultural practice.
Christopher Stackhouse unpacks muted expressiveness in the graphite portraits of Ben Durham.
Annetta Kapon finds the friction of declarative, directive and expressive language in the sculptural work of Miyoshi Barosh.
This First Proof contains the story “Furniture, Table, Chair, Shelves” by Amina Cain.
This First Proof contains the story “Mayan Dusk” by Juan Villoro, translated from the Spanish by Kimberly Traube.
This First Proof contains the poem “Pain Quotient” by Charles North.
A portfolio of work by artist Tom Holmes.
This First Proof contains the story “The Music Lovers” by Susan Friedland.
This First Proof contains three poems by Jennifer Kronovet.
This First Proof contains three poems by Barry Schwabsky.
This First Proof contains an excerpt from As Flies to Whatless Boys by Robert Antoni.
A comic by George Cochrane.
Simon Lee’s MOTHER IS PASSING.COME AT ONCE pairs layered collage with micro-narratives.
Anfang Gut. Alles Gut. takes on the task of reimagining Russian Futurist opera without the burden of nostalgia.
Andrew Lampert reviews Between Artists, a sprawling and insightful dialogue between experimental artist-filmmakers Thom Andersen and William E. Jones.
Roxanne Carter’s new novel explores the space between desire and shame in the eerie glow of a television screen.
A new book, Beyond Process, by Susan Richmond, examines the “specific objects” and artistic antics of Lynda Benglis, whose complexity and risk-taking defied convention.
Rodolfo Walsh’s true-crime novel, the first of its kind, exposes the concealment of truth in Perón’s Argentina with courage and clarity.
Carl Hazlewood’s photography, installations, and constructions are both solid and sensuous, poetically exploring what it means to be “culturally black” in today’s society.
Betsy Sussler, BOMB’s Editor-in-Chief, remembers dear friend and BOMB co-founder Sarah Charlesworth.
Stefanie Sobelle on poet Muriel Rukeyser, whose only novel demands an awareness of the inextricable link between poetry and politics.