Articles
The mask as multiple levels of embodiment.
The portrait photographer on how he captures the spirit and power of a writer’s work.
A car wrote a book worth reading.
The Italian filmmaker on community, verisimilitude, and her latest film, Happy as Lazzaro.
Performance and community.
Rediscovering a “maverick” female artist from the ’70s
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The writer on working in the porn industry, the theatricality of violence, and the mundanity of capitalism.
The Carnegie International 57th Edition recalls past works and embraces new artists.
The biographer on writing about a complicated artist, with a peopled life.
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.
A bilingual excerpt from the Russian graphic journalist’s forthcoming memoir on her hometown of Serpukhov (translated by Bela Shayevich), exploring post-Soviet space and the closure of the village’s state printing press
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.