The Aldrich Contemporary Art Museum
congratulates BOMB Gala honorees
James Keith Brown
and Eric G. Diefenbach
When she told N she was leaving, his response was that doing so would ruin him—financially.
It was nearly winter, according to the sun and shadows and temperature’s plummet, when the poor girl lost her job at a greenhouse for the misdemeanor of pocketing rare plants.
“Nothing you will see tonight is normal,” said Elihu’s mother. It was the first exciting thing she’d ever said.
PREPARE no night creature accidental enemy / encounters return to us in witch cradles, monsters by a hairsbreadth / these our works melted no / accident these fires these crashes / capitulate to what is meant by the past as a whole / melt, fall back into accomplishment the grasp of who / prepares to give the message
Ville Kumpulainen is a photographer living and working in Helsinki, Finland. In his new book, Out of Sight (Hatje Cantz, 2017), Kumpulainen manipulates archival images to solidify the tenuous connection between present and past, attempting to fill the gaps left between himself and his history.
Sammy Stein is a French artist and publisher. His work has been shown in institutions such as the Museum of Modern Art of the City of Paris, Printed Matter, the French Institute of Tokyo, Essential Store, as well as book fairs including the New York Art Book Fair, Tokyo Art Book Fair, Safari, and Festival International de la Bande Dessinée d’Angoulême.
I have let a prudent amount of time go by and now believe, or more, I am absolutely certain that your spirit will find it auspicious to be in contact with me. I am a reincarnation of a friend you had in other times.
It was a rough road—the roughness agreeably generic, not without art: good bumps and pneumatic fakeroots, little pools of gel. Into one of these last I let myself tumble, thinking, as I fell, how I would have liked to watch the pool crackle and blaze like the fire-in-fireplace I’d been sexting without response for years.
In An Approach, the sentence gradually evolves: word choices change subtly; phrases are introduced, transposed, or deleted; punctuation shifts and changes form. Through these shifts and disruptions, the text begins to accede to a nonlinear logic, through which we can glimpse “the unspoken, which is its subject, between the words, through the words.”
Writer and vocalist Keckler performs impersonations of obscure larger-than-life personalities he meets. In her first novel, Laing impersonates Kathy Acker.
Broken, the madrilenial butterfly finally suckles / from the dime blood at the ankle of the tube sock.
if the conditions for learning aren’t humiliation / then I must be alone in order to be a modern / kind of student one whose failures have not made them / so anxious they are unable to be a steady archer
a helmut / made of kohl / end poem / right there / on the head / of a german / chancellor! no
the birdcage is gasproof I have an important message for you the birds are wired /
peace is blind as teargas love your lungs will not collapse but swell
at dusk each day i like to think / of all my new friends in different parts / of the city jerking off / running baths / vaping weed getting sober / running their mouths / & reading poetry aloud to one another.
I meet the artist, who does x, for a snack one afternoon. We have the kind of conversation it was more necessary to have previous to the existence of the Internet. We exchange general info about the world.
We went into the garden to pick out a poison blocker / We saw fish mint / A lizard’s tail / A chameleon plant / Your heartleaf / My fishwort
On visits home I see gifts ripped open, and the confetti. / How much candy is in lil’ piñata? My niece asks. / So much candy he can fly.
One point: / it came from that way and goes this way / the lukewarm thought