BOMB’s Biennial Fiction Contest

Organizing Accidents: Charlotte Gainsbourg Interviewed by William J. Simmons

The actress and singer contemplates family, language, and the nature of true artistry.

A Cosmos of Your Own Creation: Mark Mayer Interviewed by Kristen Kubecka

The author discusses his debut collection, Aerialists, and the surreality of the human mind.

Oral History Project: Linda Goode Bryant by Rujeko Hockley
Linda And Yvonne

“I was motivated to pursue a way to change the conditions that were causing Black artists I interfaced with every day to say, ‘They won’t let us, they won’t let us, they won’t let us.’ I got tired of hearing that, and I said, ‘Fuck them! Let’s start a gallery!’ So that’s how JAM got started. It was never about being included.”

—Linda Goode Bryant, “Recollections, Linda Goode Bryant” in Soul of a Nation: Art in the Age of Black Power

History As Imitation of Life: Sherrie Levine by William J. Simmons
Sherrie Levine

Awash in melancholy. 

Bomb 2019 Gala Evite

Join us for our 38th Anniversary Gala and Art Auction

Ritualization and Embodiment: Sarah Zapata Interviewed by Jeanne Vaccaro
Sarah Zapata1

Textile works that investigate guilt, spirituality, and the future.

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.

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BOMB 146, Winter 2019

Our winter issue is dedicated to this planet’s greatest resource: water. With contributions from Saskatchewan and the American Southwest to Iceland and Northern Europe, an array of voices are brought together here—artists and writers investigating water as site, sustenance, and symbol, along with those expressing alarm and calling for intervention.


Featuring interviews with Lauren Bon, Oscar Tuazon, Jaque Fragua, Brad Kahlhamer, Ruth Cuthand, Janaina Tschäpe, Jessica Grindstaff, Tomoko Sauvage, Cecilia Vicuña, and Alicia Kopf, as well as writing by Laura van den Berg, Natalie Diaz, Stefan Helmreich, and more.

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BOMB 147, Spring 2019

Featuring interviews with Young Joon Kwak, Kazuo Hara, Bill Jenkins, Ligia Lewis, William Basinski, Titus Kaphar, José Roberto Cea, and Barry Lopez.

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Ned Sublette, Part II by Garnette Cadogan Mona Simpson by Ameena Meer An Open Field: Susan Howe in Conversation by Poets.org Christian Patterson by Jacob Pastrovich Dancing with the Architecture: Lucinda Childs Interviewed by Ivan Talijancic Kivu Ruhorahoza by Liza Béar The Collective Body: Maria José Arjona Interviewed by Cecilia Fajardo-Hill Cao Guimarães and Marilá Dardot Odd Bird by Paola Capó García Jill Magid by Jovana Stokić Shifting Connections: Jo Ractliffe by Kathleen MacQueen Edward Clug on Radio and Juliet by Philip Szporer Diamela Eltit by Julio Ortega Elisabeth Subrin by Gary M. Kramer Martina Kudláček by Robert Gardner Death to Silence: A Continuation by Anya Jaremko-Greenwold Portlandia by Zachary Block Christopher Guest by Lynn Geller Sacred Naked Nature Girls by Coco Fusco Larry Fishburne by Michael O'Keefe

Highlights from the 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.”

William T. Williams by Mona Hadler
William T Williams 01

“I didn’t want to paint figuratively. I didn’t want something that was overtly referencing the social issues around me, but I wanted to find a way to describe them. How do you internalize this? How do you make a form that forces a painting to be an experience that is not necessarily easy to see, handle, or look at?”

Melvin Edwards by Michael Brenson
Edwards 1

“I just wanted to be sure I didn’t get caught not expressing what I thought was important to me. That can easily happen, because you can easily get discouraged by not being allowed to participate, or just being ignored, when you know your work is beyond ignoring.”

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.”