Allen Ginsberg Takes the Mound by Matthew J. Abrams

The famous poet bombs while bombing.

Issue #145: Mr. Vladimir Putin’s Photo with Women by Deb Sokolow

An embarrassing incident at the Kremlin (from 2015? was it 2016?): in which women invited to an International Woman’s Day photo with Mr. Vladimir Putin arrive in high heels, much to the fear of Mr. Putin’s staff who are there to witness several tall women towering over the Russian Federation president.

Does Abstraction Belong to White People? by Miguel Gutierrez

Thinking the politics of race in contemporary dance. 

Aspiration and the Deferral of Pleasure: Ilana Harris-Babou Interviewed by Rebecca Schultz
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Rap videos, cooking shows, and housewares catalogues become a source for reparative thinking. 

And Then There is Using Everything: Boris Charmatz’s 10000 Gestures by Rachel Valinsky
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The choreographer presents a cascading index of form.

Studio Visit: Narcissister by William Corwin
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A new film documents the performer.

Something Like Hope: On Nana Kwame Adjei-Brenyah’s debut short story collection, Friday Black by Kristen Martin
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Stories that magnify what it means to be black in America through a satirical, uncanny lens.

BOMB 142, Winter 2018

Featuring interviews with Milford Graves, Celeste Dupuy-Spencer, Meredith Monk, Jim Hodges, Lucy Dodd, Branden Jacobs-Jenkins, Jlin, Cate Giordano, Don Mee Choi, Christian Hawkey, and Friederike Mayröcker.

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142 Cover Web
BOMB 143, Spring 2018

Featuring interviews with LaToya Ruby Frazier and Fred Moten, Sergio De La Pava, Nina Hoss, Barbara Hammer, Joseph Keckler, Lydia Ourahmane, Kaneza Schaal, Hank Willis Thomas and Kambui Olujimi, and Summer Wheat.

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Bomb #143
BOMB 144, Summer 2018

Featuring interviews with Chris Martin, Cy Gavin, Tauba Auerbach, Sam Hillmer, Amy Jenkins, Florian Meisenberg, John Akomfrah, Simone Forti, Ottessa Moshfegh, and Anna Moschovakis

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BOMB 145, Fall 2018

In the process of putting together each new issue of BOMB, we often come across distinct resonances between interviews—shared themes, creative preoccupations, and even specific phrases crop up time and again within otherwise disparate features. In these pages, artists discuss their expansive notions on collaboration. Their practices tend to split, reapportion, or redefine authorship, privileging process over individual intention and encouraging unique partnerships with spectators, local communities, film subjects, and one another. These willful acts of reaching out and beyond are as vital as ever, and worth emphasizing here.
—The Editors

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Robert Mapplethorpe by Gary Indiana Ana Teresa Torres by Carmen Boullosa James Ferraro by Catlin Snodgrass Mary Shultz by Tod Wizon Geoffrey O’Brien by Luc Sante Donna Tartt by Jill Eisenstadt Us ‘N’ Flux by Richard J. Goldstein Joan’s Beach: Miriam Bale by Aaron Cutler Roy Hargrove by Zoë Anglesey Olivia Wyatt by Will Oldham I Am a Helicopter, Camera, Queen by Katherine Brewer Ball Todd Cronan by Jeremy Gilbert-Rolfe Loving Your Inhuman Characters: Andrés Barba and Yiyun Li in Conversation Bebo Valdés by Ned Sublette Cellular Portals: A Conversation with Ursula Andkjær Olsen by Morten Høi Jensen Alex Gilvarry and Gabe Hudson  Charles Simic and Tomaž Šalamun Unapologetic Portrait by Anya Jaremko-Greenwold Litquake Q&A with Lucy Caldwell by Litquake Sundance: Danny Boyle by Susan Shacter

Oral History Project

BOMB's Oral History Project is dedicated to collecting, documenting, and preserving the stories of distinguished visual artists of the African Diaspora.

Kara Walker & Larry Walker
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“I would like to do more of that kind of thing: travel, spend some time in a place and really work from a different vantage point. I don’t know what will happen in my work from that, but I trust my ability to find the tools to find my way into my work. I think I will sit out in the woods more.”

Maren Hassinger by Lowery Stokes Sims
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“Right, they weren’t paintings, they weren’t colorful, but I kept doing them because that’s what would come to me. I could have stopped, I suppose, but to me they seemed like good pieces and they were in line with my thinking. Artists do what they think is important to them in their life span. That’s what they’ve always done—Rembrandt or Van Gogh or Picasso. They did what they did because they thought it was important.”

Wangechi Mutu by Deborah Willis
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“The collage works are going to be life-size. My work increased in scale when I realized that I wanted people to enter the worlds or to see them almost like dioramas— these places that they could be immersed into, with their own social structures and their eco-systems.”

Announcing BOMB’s 2018 Oral History Fellow 
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The Oral History Fellowship is a post-graduate editorial fellowship offered by BOMB Magazine, with a goal to organize and publish interviews by artists of the African Diaspora who are based in New York.