Discover MFA Programs in Art and Writing
Weaving the personal and political in silk.
An account of a life-long haunting that is part memoir, part ghost story, and part critical theory.
Art online during COVID-19.
Co-presented by Museum of Arts and Design and BOMB Magazine
An album inspired by filmmaker Derek Jarman’s Prospect Cottage.
For our 150th issue, we have redesigned our flagship print magazine. This design reaffirms our mandate to deliver the artist’s voice, supporting the vital discourse that appears in BOMB with vivid imagery and innovative juxtapositions that encourage dialogue across the arts—from conversations between artists, writers, and performers to exciting literature. We present exchanges in their formative state: revelatory, fluid, and iconoclastic.
This issue features interviews with Bruce Pearson, Anthony Roth Costanzo, Jacolby Satterwhite, Cathy Park Hong, Christiane Jatahy, and Seth Price, as well as fiction from Amelia Gray, Deb Olin Unferth, and Jenny Wu, and poetry from Sawako Nakayasu, Andrei Monastyrski, and Bob Holman.
This issue features interviews with Chitra Ganesh, Tania Cypriano, Charles Atlas, Netta Yerushalmy, Vi Khi Nao, Amani Al-Thuwaini, Andrea Hasler, and Bruce Boone, as well as fiction from Verónica Gerber Bicecci, Justin Taylor, Rebecca Dinerstein Knight, and Lee Relvas, and poetry from Shuzo Takiguchi and Bruce Boone.
Our summer issue includes interviews with Amoako Boafo, Nicolas Party, Brenda Goodman, Odili Donald Odita, Jenny Offill, Craig Taborn, Rowan Ricardo Phillips, and Jibz Cameron; poetry by Safia Elhillo and Nathaniel Mackey; prose by Lydia Davis, Marie-Helene Bertino, and Saidiya Hartman; and more.
Featuring interviews with Martine Syms, Erica Baum, Billy-Ray Belcourt, Carolyn Lazard, Trenton Doyle Hancock, Nathalie Léger, and Rufus Wainwright.
Unlocked From Issue #153
Artist interviews, essays, and reviews newly released from the fall issue...
All the experts say I’m sane.
Some even say I might acquire insight someday.
Wainwright talks about his tenth studio album, the “anemic” state of pop lyrics, and why Leonard Cohen—not Bob Dylan—should have won the Nobel Prize.
At thirteen, I felt my body slopping. Though I sat in the middle of the nurse’s height-weight chart, though I’d memorized the textbook diagram with its cake-like cross-section of flesh (epidermis, dermis, hypodermis stippled yellow with fat), my problem went deeper than biology.
But the idea of transformation has always been something that I romanticize in a work. I’m cautious of it but I also need it to connect my thoughts with the process of making. That’s really important.