BOMB 117 Fall 2011
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 The filmmaker talks to poet Yankelvich about outdated notions of the future, Malevich and Kazakh deserts.
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.
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.
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 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.
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.
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.
This First Proof contains poems by Craig Dworkin.
This First Proof contains five poems by Thom Donovan.
This First Proof contains Flash Fiction After Photographs by Jane Hammonds, including the short story here “Les Baigneuses,” by Jeffrey DeShell
This First Proof contains Flash Fiction After Photographs by Jane Hammonds, including the short story “Chai Wan Four,” by Helen Phillips.
Mother saw it first, over by the teepee. “See,” she said, regarding us: sisters, offspring, preeners for love.
Listen to Margaret Zamos-Monteith read “Borders” as part of BOMB’s Fiction for Driving podcast series here.
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.
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, 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.
Ursula Davila-Villa discusses the minimalist work of Jac Lernier as well as the publication of her conversations with Adele Nelson.
Cameron Shaw draws from examples in explaining her own connection to Lisa Pearson’s collection of work by female visual artists and writers.
David Brody praises the compelling rock-minimalist sounds of Slink Moss and Susan Jennings of Black Lake.
The style of Unknown Mortal Orchestra is at once new and incredibly varied, ranging from funk to psychedelia to garage riffs to surf vibes.
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.
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.