Jonas’s language gives us a fertile semiological value to reflect upon. It has an organic open-work structure of experimentation that necessitates play along with a system of signs. Its mythology offers a visual image of a new Gestalt.
Beginning with the mostly solo Horn of Plenty, Droste’s ringing vocals catapulted Grizzly Bear to the fore of Brooklyn “freak-folk.” Ironic, then, that here he recalls being initially afraid to sing, even for himself.
Jessica Jackson Hutchins’ sculptures reference the human body in all of its dumb charm and joyful habits. With Horodner she reflects on Levinas, contingency and Chinese scholars’ rocks.
This interview is featured, along with thirty-four others, in our anthology BOMB: The Author Interviews.
“What would a purely physical kind of grace look like? It wouldn’t look like a ballet dancer’s grace.”
Santutxo Etxeberria by Barbara Browning
I spent part of January with the paramour.
In the eighth installment in BOMB’s Fiction for Driving Across America series, Dannielle Dutton reads an excerpt from her novel S P R A W L, published by Siglio Press, which appeared in the Summer Issue #112 of BOMB’s literary supplement, First Proof.
In that book of Qua’s, the book she wrote about her sister Linda, there are some puzzles.
A Species is an Idea
This vine is just a vine
a substitute for nothing:
What is the family history of a cookbook like The Joy of Cooking?
A very loud car stereo, and then I am wide awake.
What agitates our structural batteries in this new ensemble of micro-conversations are your suggestions (with modulations which impose specific needs in the rest of users) is the following progression:
Futurefarmers by David van der Leer
If your knowledge of the San Francisco collective Futurefarmers ends at the Twitter logo (which they designed in 2007), you’re in for a surprise. This multifaceted design team runs the gamut, both in terms of production and strategies of audience engagement.
When Andrew Lampert performs his new piece Jacka Spades, he sits somewhere close to the front of a theater, operating a Super-8 projector in plain view of the audience.
A typical Cordy Ryman lies in a hybridized zone between sculpture and painting; pieces of wood or perhaps canvas may be isolated like small geometric paintings or even extended into the full expanse of the rooms in which they are installed, following a kind of modular accumulation strategy.
Legal Deposit by Fiona Banner
A few years ago I began producing one-off publications that I registered officially with the International Standard Book Number agency. After a while I started to receive letters from the Legal Deposit department at the British Library asking me why I had not sent copies of my books, as required by law.
George Negroponte by Carlos Brillembourg
George Negroponte’s new work has substituted the expression of the brush with that of the knife.
K.O.S., the Kids of Survival, coalesced around Tim Rollins in the early 1980s, a time of inclusion and shifting autonomy.
In the summer of 1977, Suzanne Lacy traveled the great monuments of Europe and Latin America with a paint-by-numbers picture of Leonardo da Vinci’s Mona Lisa, which she gradually colored en route.
One of the most difficult parts about moving to New York City is finding a community.
A brief prose masterpiece by Borges comes to mind when pondering the quandary behind Robert Walser’s nearly indecipherable hand-scrawled microscripts.
The Temptation of St. Tony, the second feature from Estonian filmmaker Veiko Õunpuu, opens with an apt epigraph from Dante’s Divine Comedy: “Midway upon the journey of life / I found myself within a forest dark / For the straightforward pathway had been lost.”
This Editor’s Choice contains Stuart Horodner’s review of Blind Handshake, a compilation of David Humphrey’s writings about art alongside reproductions by more than 100 artists.
Unlike the sharply critical records he became renowned for in the ’70s, Gil Scott-Heron’s I’m New Here is personal rather than political in nature, reeking of fatigue, if not perseverance.
Written mostly in the late Pinochet years, Cipango’s four interconnected books address the terror of these times in a back-alley tour through the tough streets of Concepción.
This Editor’s Choice contains Paul W. Morris on Electric Literature’s publishing model, which utilizes a combination of various electronic formats and print-on-demand technologies.
The crucible of the Caribbean islands, where Christians, Hindus, Muslims, and Jews coexist, is the primary setting of Tiphanie Yanique’s triumphant debut collection.
Kevin Killian and David Brazil have done a great service in their new Kenning Anthology of Poets Theater 1945–85. The selection is wide-ranging, eclectic, and generally highly intelligent.
