Reza Abdoh’s Cultural Compost: Negar Azimi and Tiffany Malakooti Interviewed by Sohrab Mohebbi

An ecumenical, eccentric, ecstatic, illegible, undigestable stew.

The Trees of Sawtooth Park by Ben Marcus

Dr. Nelson wanted me to feel something. In the palm of his hand was a pale yellow mound of powder. 

Tauba Auerbach and Sam Hillmer

Before the premiere of their multimedia collaboration LIGATURE, visual artist Auerbach and saxophonist Hillmer talk about connectivity, geometry, and the nature of mind.

Nyabf

Join us at PS1 for this year’s NYABF.

Evidence of Things Unseen: Geraldine Inoa’s Scraps by Sasha Bonét
Scraps4 Hunter Canning

The award-winning television writer traces inherited traumas in her debut stage production.

Uncommon Translations: Emma Ramadan Interviewed by Kyle Paoletta
Photo Credit Katya Potkin

On translating avant garde and genderless literature.

Animation and Abstraction: Jennifer Steinkamp Interviewed by Sean Capone
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Connecting real space and virtual images.

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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Winter Miller by Evangeline Morphos Dan Graham by Mike Metz Adam & Zack Khalil by Pamela Cohn Maren Hassinger by Mary Jones Francine Prose by Deborah Eisenberg Spoons and Brushes by Rena Silverman Shirin Neshat by Arthur C. Danto BOMB GLOBAL: Frank Gaard by Jonathan Thomas Eija-Liisa Ahtila by Cary Wolfe Juan Gabriel Vásquez David Ohle by JA Tyler Anthony Coleman by Michael Goldberg Turn Me On, Goddammit by Liza Béar Jarett Kobek’s Portrait of a Hijacker by Noura Wedell Jim Behrle: Phoned-In #12 by Luke Degnan Ana Teresa Torres (in Spanish) by Carmen Boullosa Kathleen Hanna by Melissa Febos Dara Birnbaum & Matt Saunders by Chris Chang Véra Belmont by Kristen Bates Jim Shepard by Christie Hodgen

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.

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
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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.”

James Little by LeRonn P. Brooks
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“The reward is getting through the tough stuff. And that’s what’s perplexing about the art thing. When I was going to school there were kids that could draw their asses off. There were kids that were better draftsman than me, for certain. But no one was more determined than me.”

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.”