“Right, they weren’t paintings, they weren’t colorful, but I kept doing them because that’s what would come to me. I could have stopped, I suppose, but to me they seemed like good pieces and they were in line with my thinking. Artists do what they think is important to them in their life span. That’s what they’ve always done—Rembrandt or Van Gogh or Picasso. They did what they did because they thought it was important.”
An artist and a choreographer challenge the term collaboration, which they see as an approach rather than an outcome or frame of interpretation.
When I arrive in the lobby of Kalimpong’s famed Himalayan Hotel, I move around clumsily and with caution. I’m wary of touching objects left behind by long-gone visitors, and the pop-up ghosts of soldiers, businessmen, and mountaineers startle me.
Devon Marinac is a visual artist whose practice includes painting, drawing, collage, and zine making, often in combination. Devon was born in British Columbia, raised in Mississauga, and currently resides in Toronto.
In the molten golden hour, a row of Santhal tribeswomen dance in an open field. Arms interlocked, they bounce as one centipedal body to the beat of a dhol, cymbals, and a purring bamboo flute. The musicians wear flowers in their turbans, while the dancers don expressionless metallic masks that impart an otherworldly timbre to the pastoral scene.
Connecting real space and virtual images.
Has our insatiable appetite for technological innovation doomed us to a world without humanity?
While taking a road trip across the US, the German artist reveals how digital technology, humor, and the human body inform his paintings and installations.
Resetting the narrative of contemporary indigenous culture in the Americas.
The Oral History Fellowship is a post-graduate editorial fellowship offered by BOMB Magazine, with a goal to organize and publish interviews by artists of the African Diaspora who are based in New York.
Documenting and improvising alternative lives.
The artist collective discusses a new public project.
The changing art landscape of Pakistan.
A mural’s ode to labor and migration.
Art of enslavement and escape.
An ecumenical, eccentric, ecstatic, illegible, undigestable stew.