BOMB 127 Spring 2014

Cover 127 Nobarcode
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Shannon Ebner and Zoe Leonard

Both artists overturn photographic conventions to slow down our reading of physical and verbal landscapes. Their exchange touches on the retina, the sun, and camera obscura.

Teju Cole by Aleksandar Hemon
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“Yes, I believe in life online, the way a person in 1910 might believe in aviation, or a person in 1455 might believe in movable type: with excitement and apprehension.”

Jay Scheib by Alix Pearlstein
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“I’m somewhere between Bresson, Godard, and the NBA.”

Matthew Barney and Gaspar Noé
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“My addiction has to do with performance, with creating a very real situation and then dealing with all the physical problems surrounding it.” —Matthew Barney

chameckilerner by Eve Sussman
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“We wanted to make a sea of flesh. But it was impossible. Throughout the process we had to reveal the personality of each performer to be able to get to the sea of flesh.”

Etel Adnan by Lisa Robertson
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I took the morning TGV from Poitiers to Paris on January 15th to ask Etel Adnan a question. She was about to receive France’s highest cultural honor, the Ordre de Chevalier des Arts et des Lettres. Her collected writings are imminent with Nightboat Books, and she has been the late star of Kassel. 

Natalie Frank by Dasha Shishkin
Natalie Frank 01

“Suspension of disbelief seems more immediate in a drawing, which is a direct portal into another world.”

Valerie Snobeck by Joe Fyfe
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“The absurdity of this material’s resistance made me want to work with the plastic, the peels. The plastic is part of us, part of me and my contribution, too, even if not directly. Plastic is estranged from me, but it is me.”

Artists on Artists
Jason Simon by Andrew Durbin
Simon 1

Jason Simon’s show at Callicoon Fine Arts last fall evoked multiplied specters of the artist’s memory.

Simone Leigh by Malik Gaines
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Simone Leigh makes historical loops that are felt through material, her ceramic forms sometimes alluding to, for instance, cowrie shells—that worthless currency with which many Africans traded other Africans into transatlantic slavery.

Samuel Jablon by James Hyde
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With exuberance, Jablon’s paintings tell the story of their own making. They are what they are by showing how they got there and how they take up their subject—and that subject is text.

First Proof
Portfolio by Robert Grenier

Color drawing poems from Robert Grenier’s 16 from r h y m m s, a set of prints published by Marfa Book Co./Impossible Objects in January 2014. 

Before by Lucy Corin

Mother gone, father good as gone, grandmother drowned with her money locked up, and the very next day in painting class he pushed my hair aside—I almost said “to read over my shoulder”—of course I mean see

I Can Give You Anything but Love: A Memoir by Gary Indiana

Things to remember better: Ferd Eggan entered my life in San Francisco in 1969, the year I dropped out of Berkeley. 

Berenice’s Hair by Peggy Shinner

The Tantrics said the forces of creation and destruction lay in the binding and unbinding of a woman’s hair. 

Poems by Anselm Berrigan
The Vicious Ladies by Carribean Fragoza

At the far end of the backyard, nestled in overgrown summer grass, the girls huddled around their private nitrous oxide tank. 

The Hermit by Lucy Ives

Zachary talks about wanting to be with someone because he feels like he can be a better person for someone else.

Poems by Li Shangyin

The spring ode I dared to lightly compose, / its lines, held in the mouth, slipped into a half-empty cup.

Editor's Choice
Shirin Neshat’s Our House Is on Fire by Anna Della Subin
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For the new series, Neshat turned to the revolution in Egypt, to which she became an inadvertent witness while working on a film about the empyrean Egyptian Umm Kulthum.

Bill Orcutt’s Gerty Loves Pussy by Clinton Krute
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Composed of the first line of every review on the first four pages of a google search return for “Bill Orcutt, review,” accessed on Wednesday, February 4, 2014.

Lynne Tillman’s What Would Lynne Tillman Do? by Sara Jaffe
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The most powerful word in a Lynne Tillman sentence is or.

Ulrike Müller’s Herstory Inventory: 100 Feminist Drawings by 100 Artists by Thom Donovan
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There are numerous pleasures in encountering Herstory Inventory, a project initiated and organized by the artist Ulrike Müller, not least of which include a collection of 100 drawings by artists whom I love and admire.

Robert Fitterman’s No, Wait. Yep. Definitely Still Hate Myself. by Nick Thurston
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Fitterman’s relentless, book-length new poem is composed of public articulations of loneliness harvested from online message boards.

Le Derrière Cri by Tom Griffiths

Le Derrière Cri is not a real fashion magazine. It’s presented in the same format, but takes a critical editorial position and poses the question: What constitutes the “real” in a fashion magazine to begin with?

Tony Medina’s Broke Baroque by Patricia Spears Jones
Tony Medina Broke Baroque

The second week in January, when I wrote this piece, marked the fiftieth anniversary of the war on poverty. More than forty-seven million people are currently living below the official poverty line.

Okwui Okpokwasili’s Bronx Gothic by Sabine Russ
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The noise of a schoolyard pours into a square, canvassed room. Overlaid by the thumping of distant tribal drums, the shrieking and trilling young voices are pummeled into the rhythm of battle.


No. XXXXXXXXXX by Ramiro Chaves

No. XXXXXXXXXX is a personal atlas of the ways in which the letter X has been used in contemporary Mexican architecture.