The Aldrich Contemporary Art Museum
congratulates BOMB Gala honorees
James Keith Brown
and Eric G. Diefenbach
BOMB 127 Spring 2014
“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.”
“I’m somewhere between Bresson, Godard, and the NBA.”
“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
“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.”
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.
“Suspension of disbelief seems more immediate in a drawing, which is a direct portal into another world.”
Jason Simon’s show at Callicoon Fine Arts last fall evoked multiplied specters of the artist’s memory.
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.
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.
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.
Things to remember better: Ferd Eggan entered my life in San Francisco in 1969, the year I dropped out of Berkeley.
The Tantrics said the forces of creation and destruction lay in the binding and unbinding of a woman’s hair.
At the far end of the backyard, nestled in overgrown summer grass, the girls huddled around their private nitrous oxide tank.
Zachary talks about wanting to be with someone because he feels like he can be a better person for someone else.
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.
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.
The most powerful word in a Lynne Tillman sentence is or.
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.
Fitterman’s relentless, book-length new poem is composed of public articulations of loneliness harvested from online message boards.
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?
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.