Fellowship and Residencies Fall 2018

Our quarterly roundup of fellowships, residencies, and prizes accepting applications.

One Piece: America by Hugh Hayden

The artist talks about an uninhabitable American Dream.

Fall Issue: Andrea Fraser and Helen Molesworth

Delving into public arts funding, resentment of “cultural elites,” and campaign finance, artist and curator discuss 2016 in Museums, Money, and Politics—Fraser’s examination of the intersection of cultural and political patronage.

From Affinity to Twinship: A Conversation by Leah Dieterich & Meg Whiteford
Dancers At The Bar Ii

On writing about performance and relationship paradigms.

The Treatment Sounded So Cinematic: Lana Wilson Interviewed by Penny Lane
Lana Wilson Director Headshot C

The two filmmakers probe the ethics and surprise of documentary.

Studio Visit: Jes Fan by Lumi Tan
Jes Fan 2

Giving melanin a life of its own.

Portfolio by Corine Vermeulen
1 Vermeulen

A portrait of Detroit through its people.

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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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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Michael Winterbottom by Liza Béar The Splits by Richard J. Goldstein Aura Rosenberg by John Miller Alphabets: Kathleen Alcott by Patrick Somerville Josh Kline: New York, Dignity, and Self Respect by Jenny Borland Jules Gimbrone by Suzy Halajian Prem Krishnamurthy by Zachary Sachs Jessica Hagedorn by Ameena Meer Campana Brothers by Vik Muniz Sophie Calle, Absent by Wendy Lotterman Harry Dodge & Stanya Kahn by Michael Smith Joshua Oppenheimer by Pamela Cohn Joe Sola by Stuart Horodner Sam Fleischner by Liza Béar Paul Beatty by Christian Haye Beau Rice by Aiden Arata Nature Theater of Oklahoma by Lauren Bakst Cyborg Dreams by Ben Mirov Nightshift by Allen Frame Peter Greenaway by Lawrence Chua

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.

Maren Hassinger by Lowery Stokes Sims
Hassinger High Noon 2

“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.”

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. 

Kara Walker & Larry Walker
Walker 01

“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.”

Wangechi Mutu by Deborah Willis
Mutu Oral History 09

“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.”