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. 

Hypnotic Mythologies: Kaija Saariaho Interviewed by Ivan Talijancic
Only The Sound Remains 10 Credit Ruth Walz

The US premiere of Only the Sound Remains lands at the White Light Festival.

Beyond Gist: On The William H. Gass Reader by Tyler Flynn Dorholt
Gass Reader Jkt

Sixty years of writing about language.

Aspiration and the Deferral of Pleasure: Ilana Harris-Babou Interviewed by Rebecca Schultz
Harris Babou 1

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
10000 Gestures 2018 Skirball C Chloe Mossessian 6

The choreographer presents a cascading index of form.

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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144 Cover
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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Nick Cave by Krystian von Speidel Daniel Borzutzky by Joyelle McSweeney Cherien Dabis by June Stein Standing in for the Dead: Yorgos Lanthimos by Natasha Stagg Frances Kiernan by Lynne Tillman Paul Pfeiffer by Jennifer Gonzalez Amy Herzog by Carolyn Cantor Mark Strand by Peter Moysaenko Lyrae van Clief Stefanon: The Astronomy of Poetry by Susie DeFord Georgi Gospodinov by Jeffrey Zuckerman Ethan Greenbaum by Andrianna Campbell Sally Potter on Orlando Rebecca Lindenberg by Elizabeth Clark Wessel Paul Legault by Julia Guez Alain Guiraudie by Nicholas Elliott Miranda July by Feliz Lucia Molina New York Close Up: Wesley Miller and Nick Ravich by Alyssa Lindley Kilzer Andrea Ray by Matthew Buckingham Peter Doig & Chris Ofili Metaphors of Migration: Yinka Shonibare Interviewed  by Osman Can Yerebakan

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
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.”

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.”

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.