Discover MFA Programs in Art and Writing
The Man Booker finalist on telling a story from the perspective of a spirit and writing to expose historical truths.
Painting that works with politics and abstraction.
On deep listening and being alive inside a system.
Creating a space between humans and machines.
On Sylvia Townsend Warner’s The Corner That Held Them, a witty and subversive novel about life in a fourteenth century convent.
Sustain BOMB with a tax-deductible gift in 2019!
A look behind the scenes of Akhnaten, Philip Glass’s 1983 opera now playing at the Metropolitan Opera, in which the countertenor plays an ancient Egyptian pharaoh who defied gender conventions.
Our winter issue is dedicated to this planet’s greatest resource: water. With contributions from Saskatchewan and the American Southwest to Iceland and Northern Europe, an array of voices are brought together here—artists and writers investigating water as site, sustenance, and symbol, along with those expressing alarm and calling for intervention.
Featuring interviews with Lauren Bon, Oscar Tuazon, Jaque Fragua, Brad Kahlhamer, Ruth Cuthand, Janaina Tschäpe, Jessica Grindstaff, Tomoko Sauvage, Cecilia Vicuña, and Alicia Kopf, as well as writing by Laura van den Berg, Natalie Diaz, Stefan Helmreich, and more.
Featuring interviews with Young Joon Kwak, Kazuo Hara, Bill Jenkins, Ligia Lewis, William Basinski, Titus Kaphar, José Roberto Cea, and Barry Lopez.
Featuring interviews with Mary Weatherford, Nanfu Wang, Lee Quiñones, Venkatachalam Saravanan, Tyshawn Sorey, Ben Whishaw, Édouard Louis, Geovani Martins, Prageeta Sharma, and James Thomas Stevens.
Featuring interviews with Korakrit Arunanondchai, Antoine Catala and Dan Graham, Atelier Bow-Wow, American Artist, Jeff Bliumis, James N. Kienitz Wilkins, Rion Amilcar Scott, and Carmen Giménez Smith.
Oral History Project
The Oral History Project is dedicated to collecting, developing, and preserving the stories of distinguished visual artists of the African Diaspora.
“When you’re an artist, you bring what you know, what you think, what you’ve experienced, your aesthetic, your ambition, and it doesn’t have to be conscious. In fact it shouldn’t be self-conscious. If the work isn’t speaking to you, if you’re not getting it from what you’re seeing, you’ve failed, and no amount of explanation is going to change that.” —Janet Olivia Henry
“Making our art is the purest thing we do. There are no hidden lies. My work is my truth as I have lived it.”—Sana Musasama
“I was motivated to pursue a way to change the conditions that were causing Black artists I interfaced with every day to say, ‘They won’t let us, they won’t let us, they won’t let us.’ I got tired of hearing that, and I said, ‘Fuck them! Let’s start a gallery!’ So that’s how JAM got started. It was never about being included.”
—Linda Goode Bryant, “Recollections, Linda Goode Bryant” in Soul of a Nation: Art in the Age of Black Power
Clark talks to his friend and fellow painter, Jack Whitten, about growing up in Louisiana, coming of age in Chicago, heady days in Paris, and living in New York City when the abstract expressionists ruled.
“I don’t want to mention names, but there are several black artists that would like to shoot me today because they weren’t in that show. Some of them are dead, but the ones that aren’t dead still give me a lot of bullshit every time I see them.”
I know that I’m depressed, sensitive, and selfish. I’m just determined to do this thing, which is paint in solitude, and I will burn bridges to do it, including relationships.