BOMB 100 Summer 2007
“This eternity stuff is definitely very important for me. The days are passing, time is running; we will die, everybody has just one life. That’s why it’s very important how this life is going. The quality of this life. We are not in the church, where people are told lies.”
A scholar not only of literature, but of culture, horticulture, and above all the human body and its communications, Nádas presents a picture of temperament and elegance in the great tradition of the European intellectual.
“I have diversity in my work, but I also have control of it. I rarely paint things that I like.”
“My dream was a synchronized sound of present, absent, and distant musicians choreographed across the audience via the elaborate placement and movements of the performers in the whole building.”
“I worked at Shepherd-Pratt mental hospital, and I liked to take my name tag off and maybe be confused for one of the patients.”
I’ve been thinking about Kara Walker’s work for a long time. Two years ago, a bleeding barn from one of her watercolors appeared in one of my poems.
This First Proof contains the story “In My Yoke Skirt.”
This First Proof contains a series of “Zeus” poems.
This First Proof contains the story “What Happened Between Us.”
Essay by Ambar Past. Contributions by Mikaela Días Días, Xpetra Ernándes, Sluz Hernández, Manwela Kokoroch, Rosa López Kómes, Loxa Jiménes Lópes, Roselia Montoya, Xunka’ Utz’utz Ni’, Antel Péres Ok’il, Munda Tostón, María Tzu, and María Xila.
Steve Earle on how Robbie Conal’s satirical, defiantly political drawings involve a constant process of teaching and learning.
Bas Jan Ader’s Please Don’t Leave Me & In Search of the Miraculous: Bas Jan Ader Discovery File by Nato Thompson
Swallowed by the ocean in 1975 at age 33, the artist Bas Jan Ader emerges in the 21st century as a popular sensation, and it is not surprising.
Sharp is a top-notch avant-garde guitarist whose main musical styles are far from bebop, but this disc of tunes by bop legend Thelonious Monk is not some hipster’s ironic desecration of iconic material.
I have come across a double find: first, a special two-part issue of the journal Visible Languageon Fluxus, edited by Fluxus historian Owen Smith and Fluxus artist Ken Friedman; and second, no less exhilarating, the journal itself.
In the summer of ’99, after I failed to land an unpaid docent gig at the Art Institute of Chicago, I fell into an internship (paid!) with Rick Valicenti, a weird and brilliant artist and graphic designer based in Barrington, Illinois (where the high school’s sports teams are the Broncos and the Fillies).
CAConrad’s first book is a voracious projectile, cutting desire and dissidence into bite-size servings: eat me.
If Art is the sedimented history of human misery, as Adorno said, it can also be the consolation prize for a broken heart.
“In another time I guess I would have been content with filming girls and cats.
Every two years (or three, or four—it really all depends), the Museum of Bad Art in Dedham, Massachusetts, holds an eagerly anticipated Rejection Collection Auction.
“The chasm between contemporary art and theater is a topic of perpetual amazement to CiNE.