BOMB 113 Fall 2010
Hirschhorn’s site-specific, hyper-saturated installations enjoy what he calls “wastefulness as a tool or weapon.”
No-Neck Blues Band’s Keith Connolly queried David Toop on inchoate listening, eavesdropping, and the uncanny—as contemplated in Toop’s new book, Sinister Resonance: The Mediumship of the Listener. From the current issue, BOMB 113, Fall 2010.
With human-rights activist Sameer Padania, British psychoanalyst and prolific essayist Adam Phillips free-associates on topics addressed in his new collection, On Balance: fundamentalism, excess, and the shortcomings of liberalism.
Shields, author of the much-debated book on appropriation, Reality Hunger: A Manifesto, used the epistolary method, via email, to discuss the influence of California’s counterculture on Tomaselli’s visionary paintings.
Charlie Smith’s latest novel, Three Delays, is an account of the partings and reconciliations of two lovers on the fringes of the American mainstream. In the course of their conversation, Reed and Smith agree on one point: redemption is an illusion.
I first came across Charline von Heyl’s paintings in the mid-’90s. She had moved to New York from Germany in 1994, having had her first New York solo show at Friedrich Petzel Gallery.
Belgian director and playwright Jan Lauwers of Needcompany in discussion with fellow dramatist Elizabeth LeCompte of The Wooster Group on the parallel lives of their respective companies and the upcoming performance of The Deer House at BAM.
I once fell in love with a cannibal on the subway.
My chest is angry. Tight enough to bounce
There’s a place past breathing, I’ve heard somewhere, discovered by deep-sea divers who swim ten stories down on a lungful of air.
hello. i am writing to inform you of what i am currently doing.
Right after she slammed the door, he received through the mail slot—yes, it was definitely addressed to him—an offer to buy a cemetery plot.
All juicit with an arseful of moola, wonga, clams & squids
Michael Ballou distrusts traditional art world classifications. His work is practical art; it follows his frank, literal, and can-do attitude of the Midwest, though often at the core of that onion is an idea so fleeting and spontaneous that a long contorted story involving a cast of dozens is the only explanation.
Looking at Monika Baer’s drawings and her bare but lush paintings, I was reminded of how a motif’s treatment depends on the artist’s dual perspective of familiarity and detachment, which led me to think of the “first landscape,” the one we encountered as children.
After designing and building what he regards as an improved M16 in his studio, Jameson Ellis reduced the act of firing a gun to “pure functionality” at the Salomon Contemporary.
Gaspar Noé’s new film is a psychedelic experience of Tokyo shown through the eyes of the deceased protagonist.
A collection of essays examining the cultural, social and political manifestations of both literal and metaphorical masquerade.
An exhibition of photographs from three series, exploring absence, decomposition and dislocation. Shot in Cape Town and New Orleans, subjects vary from migrants in their intimate spaces, empty beds, and ruined houses.
Ben Mirov on Brandon Downing’s collaged poetry collection Lake Antiquity.
The Way Out is a joyful record, deftly using a miscellany of samples to create experimental, engrossing music.
Full House Head presents mind-numbingly blissful tracks, and uses repeated riffs to create a long, loud, monolithic album.
The artist Josiah McElheny has published two books that display his collaboration with artists, scholars, scientists and creative writers, offering a multitude of voices, speculations, fictions, and facts.
Justin Spring weaves a revealing biography of Samuel M. Steward, the novelist and professor who had hidden identities as a tattoo artist and pornographer.
Frederic Tuten’s collection of short fiction paints a world in motion. A sensitive crafting of characters and scenes reveals the adeptness of the writer of five novels.
A compilation of text, photographs, illustrations and diagrams, The Art of McSweeney’sdocuments the history of the unique publisher as it rose from its precarious position as a hawker of rejected stories.
A more brutal pop-art sensibility was taken up by the artists who designed the decals sold by the Topps Company’s Wacky Packs in the late ’60s.
In John Phillp Santos’ tale of his families origins from Spain, he sets out on a quest to discover his heritage and explores the human fascination with borders.