The black figure has always been a subject of entertainment in popular culture, as well as an image to sell things. In some ways, that’s how people relate to us—because they’ve seen us on television.
—
Derrick Adams
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
The artist finds inspiration, and space, in Detroit for his sculptural paintings.
The relationship of colors on and off the canvas.
An exhibition by a prior member of the Situationist International.
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.
