Fellowship and Residencies Fall 2018

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

Fall Issue Preview: Shahryar Nashat and Adam Linder by Aram Moshayedi

An artist and a choreographer challenge the term collaboration, which they see as an approach rather than an outcome or frame of interpretation. 

One Piece: America by Hugh Hayden

The artist talks about an uninhabitable American Dream.

The Treatment Sounded So Cinematic: Lana Wilson Interviewed by Penny Lane
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The two filmmakers probe the ethics and surprise of documentary.

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Please join us for the sixth installment of READING AT KARMA, featuring Ben Marcus. The event is co-hosted by BOMB Magazine and is part of an ongoing reading series at Karma Books. 

Full Wack and Tender, Too: Shelley Hirsch Interviewed by Peter Stampfel
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The two musicians ramble on their working class upbringing, the elitism of the avant-garde, and the politics of goofiness.

Portfolio by Corine Vermeulen
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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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Bryan Zanisnik Pauline Boudry / Renate Lorenz by Risa Puleo Florian Meisenberg by Peter Rostovsky Paul McCarthy by Benjamin Weissman The Shoestore in Caborca … by Richard Nonas Michael Counts by John Zorn Valerie Snobeck by Joe Fyfe Dorthe Nors by Lauren LeBlanc Hilton Als by Coco Fusco Jenny Diski by Frederic Tuten Mixtape: Angel Olsen by Gary Canino Write/Cross-Out: Lucy Ives by Claire Wilcox John Turturro by June Stein Steve Erickson by James Mx Lane Rachel Cusk by Alex Zafiris Results, Concrete: Carly Mandel Interviewed by Kerry Doran Rebecca Lindenberg by Elizabeth Clark Wessel Mike Leigh by Bette Gordon Damon & Naomi by Tobias Carroll Iva Radivojevic by Pamela Cohn

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
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“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
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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.”

Wangechi Mutu by Deborah Willis
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“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.”