BOMB 118 Winter 2012
John Miller and Liam Gillick talk about repurposing painting, conceptualism, and reality TV.
Painter Suzanne McClelland discusses visual acoustics, marginal language and musical references with poet Barry Schwabsky.
The authors ponder the implication of immersing fiction in place—Chicago in the case of Orner’s new novel Love and Shame and Love—and non-place, as in the hypertext that accompanies La Farge’s new novel, Luminous Airplanes.
Yang Fudong, known for his his elegant, puzzle-like films, speaks with curator Li Zhenhua about his latest project The Fifth Night.
His final play was never performed
during his life, but shortly after
This First Proof contains five poems by Kirsten Kaschock.
We left on a school day, so Esther wouldn’t see us.
Winner of the 2011 BOMB Fiction Prize,
Judged by Rivka Galchen
Jennie C. Jones’s art reflects on the cultures of sound and music in a visual context. In recent years, she has presented cerebral and imaginative responses to what she calls “the physical residue of music,” using strips of audiotape, bits of wire, instrument cables, cassette casings, or handfuls of earbuds
Mies van der Rohe’s statement “God is in the details” came to mind recently as I was thinking about Tamara Zahaykevich’s work.