If the soul and the ego were objects we could look at, the soul would be a translucent heart beating.
—
George Condo
BOMB Specific by Curtis Mitchell
- Mika Rottenberg by Judith Hudson
- Thomas Hirschhorn by Abraham Cruzvillegas
- David Toop by Keith Connolly
- Adam Phillips by Sameer Padania
- Fred Tomaselli by David Shields
- Charlie Smith by John Reed
- Charline Von Heyl by Shirley Kaneda
- Jan Lauwers by Elizabeth LeCompte
Interviews
- Portfolio by Judith Hudson
- Dying Is All I Think About by Alissa Nutting
- Four Poems by Patricia Spears Jones
- Half-Life by Mark Slouka
- i am writing to inform you of what i am doing by Christian Hawkey
- Endurance by Steve Tomasula
- Drawings from 21 Love Poems and The Fried Tale (London Zoo) by Caroline Bergvall
First Proof
- Michael Ballou by William Corwin
- Monika Baer by Laura Bruce
- Patricia Esquivias by Manuela Moscoso
Artists on Artists
- Jameson Ellis’s Improved M16 Prototype #1 by Zachary Lazar
- Gaspar Noé’s Enter the Void by Lena Valencia
- Frédrique Bergholtz and Iberia Pérez’s (Mis)Reading Masquerades by Christopher Stackhouse
- Inner Views, Zwelethu Mthethwa, Studio Museum in Harlem by Patricia Spears Jones
- Brandon Downing’s Lake Antiquity by Ben Mirov
- The Books’s The Way Out by Peter Moysaenko
- Endless Boogie’s Full House Head by Clinton Krute
- Josiah McElheny’s The Light Club and A Prism by Sabine Russ
- Justin Spring’s Secret Historian: The Life and Times of Samuel Steward, Professor, Tattoo Artist, and Sexual Renegade by Jason Bauman
- Frederic Tuten’s Self Portraits: Fictions by Thomas Bolt
- The Art of McSweeney’s by Paul W. Morris
- Wacky Packages New New New by Nick Stillman
- John Phillip Santos’s The Farthest Home Is in an Empire of Fire: A Tejano Elegy by Callie Enlow
Editor's Choice
Discover MFA Programs in Art and Writing
Jarvis Cocker, of Pulp, once told me:
“During my accident, I remember hanging from the window ledge and thinking, this is actually a dramatic situation, but it doesn’t seem dramatic. It was like my fingers were losing their grip, and I had to make a decision whether to allow myself to slip off or just let go. And I went, ‘One, two, three—let go.’ And then, bang. In a film, there’d have been good camera angles and music heightening the tension of the scene, but of course there wasn’t any of that, and it was actually a very mundane, pathetic thing that was happening.”
Curtis Mitchell, Centerfold.
Curtis Mitchell, Centerfold.
Related
Painting at the tattered ends of masculinity.
Painting as a body; canvas as a skin.
Originally published in
BOMB 113,
Fall 2010
Featuring interviews with Charline Von Heyl, Fred Tomaselli, Mika Rottenberg, Thomas Hirschhorn, Adam Phillips, Charlie Smith, David Toop, and Jan Lauwers.
