BOMB 123/Spring 2013
Mia Engberg discusses her latest film, Belleville Baby, and trusting the filmmaking process.
Chelsea Knight on performing motherhood and marriage in her new video, The Breath We Took and why “write what you know” is limiting advice.
Lauri Stallings discusses her dance company gloATL and why it’s crucial to export contemporary art from Atlanta.
Gavin Turk on impersonating Elvis, Ford transit vans, and the problems of careful consumption.
Elaine Lustig Cohen on the late Alvin Lustig and the art, and archiving, of the book jacket.
Jodie Wille and Maria Demopoulous discuss their recent documentary on The Source Family, a past zeitgeist of trust, and the popular perception of cultists and communes.
Colette Lumière on the return of Victorian Punk, 40 years of “sleep art” and her artistic collaboration with Hurricane Sandy.
Nathan Mabry on his first solo show in New York, as well as mixing ancient shamans with Donald Judd and sports mascots with Rodin.
Jessica Hoffmann and Peter Cochrane discuss Mattilda Bernstein Sycamore’s new memoir The End of San Francisco.
Eduardo C. Corral on the soundtrack to his poetry and his book, Slow Lightning.
The founders of Mossless on turning their photography blog into a magazine: why self-publishing can be the scary future of art books.
Thomas Lanigan-Schmidt on the politics of art school admissions, knick-knacks, and linguistic gate-keeping in contemporary art.
Rachid Djaïdani discusses his new film Rengaine (Hold Back), and the advantages and hazards of guerrilla filmmaking.
Deerhunter discusses automatic writing, Monomania, and setting the record straight on Connie Lungpin.
Nabil Nahas on painting with starfish, the reception of his work in the Middle East, and the symbolism of cedar trees.
Richard Hell on his new memoir, the punk legacy, Harmony Korine, and the subtle joys of reaching middle age.
Raymond McDaniel on the mythology of comic books and the super-hero narrative in his book of poetry Special Powers and Abilities.
Duane Michals on the benefits of skipping art school, becoming an atheist, and his new work, up now at DC Moore Gallery.
Mike Polizze of Purling Hiss discusses his four-track roots, Ampegs, and letting his song-guts hang out.
Kenya (Robinson) reflects on the end of her MFA program and becoming a professional artist.
Christian Patterson discusses the re-release of Redheaded Peckerwood, comparisons to Truman Capote, and photographic secret codes.
Julian Lynch on his new album Lines, the recording/performing dichotomy, and different ways an artist can make use of an influence.
Amy Adler on artist’s rights, the impact of conceptual art on law and Texts from Hillary.
Tanya Larkin on myth, Emily Dickinson, and being “a latecomer to clarity and plain speaking.”
Augustus Thompson on making art in the shower, Instagram and his solo show at Ed. Varie.
Filmmaker and photographer Olivia Wyatt on her new film, working in East Africa, and maintaining balance between analog and digital techniques.
Aura Rosenberg—whose “The Golden Age” harkens back to the politics of appropriation of her earlier work—discusses her use of pornography with husband John Miller.
Véréna Paravel and Lucien Castaing-Taylor on their visceral and experimental new documentary Leviathan.
Teddy Wayne on tween-speak and the titular child star of his novel The Love Song of Jonny Valentine.
Patti Astor talks about her new book and her role in the New York art scene of the 1980s.
