Articles
A superabundant life online, thinking through networks, and asking for more.
The internet does a better job of documenting / the way we feel when something soft, especially / a mammal, is very cute, than poetry does.
yours in torchlight / we audit our equipment / note how few genuine distractions / present as distraction first
Cauleen Smith tangles the past with figures from African American histories, Afrofuturism, Radical Jazz, and alternative futures.
The New York-based artist discusses collaboration, deskilling, and life after the end of the world.
Winner of BOMB’s 2018 Poetry Contest, selected by Dawn Lundy Martin.
Yavush dressed like a girl who didn’t really love herself—in short, strappy dresses that flashed meaty upper thigh, with a clip-on swoop bang and acrylic fingernails that curved into the future, dripping rhinestones, gold hearts, and glitter.
You are a color-blind social worker in a small town and your secret is you stopped giving a fuck. A man you loved more than you knew was possible has left you, but so what, right?
In 2010, Mexican artist Alejandro Luperca Morales began rubber-erasing human remains out of the frequent crime-scene reports published by P.M., his local Juarez newspaper. Often behind police barricade tape, these ghostly voids resemble eddies of dust, bald patches of earth, or gauzy shrouds illuminated from within. Over the past eight years, Morales has collected a significant archive, performing this gesture on more than 500 images.
In echoes and splices of “narrative sonic bites,” Douglas sets her experimental novel, The Marvellous Equations of the Dread, to the dub pulse of Rasta tradition.
Navajo language, photography, and the shifting landscape of the Southwest guide the poet’s latest collection, Dissolve.
Sisters Lydela and Michel Nonó conduct performative interventions at their art space/home in Puerto Rico, using improvisation to process family memories and trace the wounds of colonialism.
Reassembled fragments of texts and vocalizations invite audiences into the immersive installations of these two artists.
On occasion of Sniadecki’s current project, A Shape of Things to Come, the two filmmakers trade insights on “sensorial cinema” and working with reclusive desert-dwelling subjects.
Fashioning ersatz artifacts and museological displays, two artists dispense with individual authorship to inhabit the “speculative nature of history” with an eye on the future.
A photojournalist discusses the stories behind his images of immigration in an age of militarized border enforcement.
Sculptures that depict the body’s predicament.