Where on the spectrum of loyalty and betrayal does song begin? And where does it end? I think each writer has to decide this over and over.
—
Sharon Olds
Portfolio by Alejandro Luperca Morales
- Dirty Plotte—The Complete Julie Doucet by Austin English
- Leigh Ledare’s The Task by Steve Macfarlane
- Stephen Maing’s Crime + Punishment by Stephanie E. Goodalle
- Daaimah Mubashshir’s The Immeasurable Want of Light by Rachel Valinsky
- Tori Kudo’s GALA-KEI: Galapagos Cellular Phone Punishment by Keith Connolly
- The Otolith Group’s O Horizon by Rahel Aima
- Shiv Kotecha’s The Switch by Corina Copp
Editor's Choice
- Marcos Castro and Baris Gokturk by Sabine Russ
- J.P. Sniadecki by Nicolás Pereda
- Issue #145: Ann Hamilton and Audra Wolowiec
- Shahryar Nashat and Adam Linder by Aram Moshayedi
- Las Nietas de Nonó by Pepón Osorio
- Andrea Fraser and Helen Molesworth
- Sherwin Bitsui by Joy Harjo
- Marcia Douglas by Loretta Collins Klobah
Interviews
- Portfolio by Alejandro Luperca Morales
- Trigger by Shelly Oria & Nelly Reifler
- Yavush by Selena Anderson
- Four Poems by Savannah Cooper-Ramsey
- Issue #145 | Attempt to Be Adequate to the Experience of Loving an Animal by Diana Hamilton
- Three Poems by Ken White
- Mr. Vladimir Putin’s Photo with Women by Deb Sokolow
First Proof
- End Page by Kameelah Janan Rasheed
End Page
Discover MFA Programs in Art and Writing
Selections from P.M., 2010–ongoing, rubber eraser on newspaper. Images courtesy of the artist.
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. He also collects the polvo, or eraser shavings, the ashes of these interventions. This ongoing project is one of endurance, powerful in its cumulative commitment to tracking pain and exhaustion, while pointing to the attention and even salacious interest that media shows a body once it’s become an object.
Originally published in
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.
