The Aldrich Contemporary Art Museum 
congratulates BOMB Gala honorees
James Keith Brown
and Eric G. Diefenbach

BOMB 117 Fall 2011

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Interviews

Clifford Owens by Nick Stillman

Clifford Owens spent the summer performing scores written by fellow artists at his PS1 studio. With Nick Stillman he looks back at the history of black performance art and forward to his MoMA exhibition Anthology.

Eve Sussman by Matvei Yankelevich
Eve Sussman 10 Body

Sussman’s remarkable new film, whiteonwhite:algorithmicnoir is an sci-fi narrative that constantly re-edits itself. The filmmaker talks to poet Yankelvich about outdated notions of the future, Malevich and Kazakh deserts.

Lisa Yuskavage
Lisa Yuskavage 2

I’ve been to Yuskavageland—an improbable zone at the intersection of the European painting tradition, religious iconography, porn, and, I’ll argue, performance art.

Sanford Biggers by Terry Adkins
Sanford Biggers 01

Biggers has three shows this fall: an “introspective” at the Brooklyn Museum, a solo show at SculptureCenter, and an exploration of African diaspora imagery at MASS MoCA. He discusses lineage and American history with fellow artist Terry Adkins.

Geoff Dyer by Jonathan Lethem
Geoff Dyer

As the following dialogue will make clear, I’m a stone fan of Geoff Dyer, the mid-career British author who is our leading master of the undefinable memoir-essay-perambulation on diverse topics: jazz, D. H. Lawrence, photography, travel, drugs, sex, etcetera. 

Kenneth Goldsmith by Marcus Boon
Kenneth Goldsmith Body

Kenneth Goldsmith is a trickster for sure, not just because his work takes place on the crossroads between legal and illegal, between digital and real life, between word and image, but because he’s a man who wears a lot of hats, metaphorical and otherwise. 

Neil Michael Hagerty by Keith Connolly
Neil Michael Hagerty

For 25-plus years Neil Michael Hagerty has been in the business of catalytic transformation. To DC-cum-NYC punk outfit Pussy Galore, he brought a blues-guitar semiotics that helped to define a signature style of trash. He then quit to form Royal Trux with Jennifer Herrema, behind which the now-thriving Drag City record label was launched.

Peter Eisenman by Carlos Brillembourg
Peter Eisenman 1 Body

Peter Eisenman prefers Milan to Istanbul. He is an architect and theorist whose work is firmly grounded in the European classical tradition from the Italian Renaissance to the present. 

First Proof

How to Crash Cannes by Zachary Mason

I go blank for a moment and do not know what I am doing here in this claustrophobia of bright young things, but reflected in the window I see the Kevin Lu suit that I cannot afford and my lenseless blue-and-green spectacles, which are an excellent imitation of a designer whose name I forget but Caitlin would know. 

Three Works by Fred Valentine
Fred Valentine 1
Poems from Opuscula by Craig Dworkin

This First Proof contains poems by Craig Dworkin.

Four Poems by Harvey Shapiro

Key West

At the corner of Simonton and Amelia

The New Us by Thom Donovan

This First Proof contains five poems by Thom Donovan.

Les Baigneuses by Jeffrey DeShell
 Hammond2


This First Proof contains Flash Fiction After Photographs by Jane Hammonds, including the short story here “Les Baigneuses,” by Jeffrey DeShell

Chai Wan Four by Helen Phillips
Hammond

This First Proof contains Flash Fiction After Photographs by Jane Hammonds, including the short story “Chai Wan Four,” by Helen Phillips.

Peacock by Dawn Raffel
Hammond3

Mother saw it first, over by the teepee. “See,” she said, regarding us: sisters, offspring, preeners for love.

Borders by Margaret Zamos-Monteith

Listen to Margaret Zamos-Monteith read “Borders” as part of BOMB’s Fiction for Driving podcast series here.

Three Photographs by Jane Hammond
Jane Hammond 1
Artists on Artists

Andrea Blum by pamela lins

This fictional site operates simultaneously with our everyday lives. It is a place where relationships unfold in time, and structures unfold in space; lying together they suggest the abstract material of sociability. These formations are the relatives of architecture, the turf of Andrea Blum’s work.

The Chadwicks by Ellen Harvey
Chadwicks 1 Body
Phoebe Washburn by Abby Goldstein
Phoebe Washburn R2 Body

Entering the Downtown gallery housing of Phoebe Washburn’s installation Nunderwater Nort Lab you are greeted by a curved wall made of two-by-fours.

R. M. Fischer by Daniel Wiener
Fischer 1 Body

R. M. Fischer, the sculptor known in the ’80s and ’90s for creating lamps from wholesale kitchen equipment and various fasteners, has more recently started making work that is wild and funky—vinyl cloth sewn together with ever-so-visible seams. 

Editor's Choice

Encyclopedia Vol. 2 F-K by Alan Gilbert

Alan Gilbert considers the implications of the release of volume 2 of the Encyclopedia project, as well as the success of its format as creative nonfiction.

Jac Leirner in Conversation with Adele Nelson by ​Ursula Davila-Villa
Jac Leirner 01

Ursula Davila-Villa discusses the minimalist work of Jac Lernier as well as the publication of her conversations with Adele Nelson.

It Is Almost That: A Collection of Image+Text Work by Women Artists and Writers by Cameron Shaw
Louise Bourgeois 01

Cameron Shaw draws from examples in explaining her own connection to Lisa Pearson’s collection of work by female visual artists and writers.

Shake: 4-song 45-rpm record Black Lake by David Brody
Black Lake 01

David Brody praises the compelling rock-minimalist sounds of Slink Moss and Susan Jennings of Black Lake.

Unknown Mortal Orchestra by Peter Moysaenko
Unknown Mortal Orchestra 01

The style of Unknown Mortal Orchestra is at once new and incredibly varied, ranging from funk to psychedelia to garage riffs to surf vibes.

dongghab by Sowon Kwon by Moyra Davey
dongghab 01

In paying homage to Ed Ruscha’s Twentysix Gasoline Stations, Sowon Kwon’s book project dongghab suggests a connection between nascent American postmodernism and violence.

Yvonne Rainer’s Poems by Corina Copp
Yvonne Rainer 01

Corina Copp contrasts the theatrical work of Yvonne Rainer with her new collection of poems, which are private and resistant to narrative, rejecting abstraction and decorative language.

David Antin’s Radical Coherency by Danny Snelson
David Antin 01

The new retrospective on David Antin’s work takes its viewers through over 40 years of critical poetic practice, from art criticism to talk-poems.

Plus

BOMB Specific by Sally Smartt

Sally Smart is an artist living in Melbourne, Australia. 

The Wick by Dan Perjovschi
Bomb 117 Perjovschi

Dan Perjovschi, drawing 1999–2011, variable dimensions, various techniques.