New York Live Arts presents

Marjani Forte
Nov 15-19


BOMB 133 Fall 2015

270319784 08252015 Bomb 133 Cover
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Interviews

Deana Lawson & Henry Taylor

Amid recollections of a joint trip to Haiti, photographer Deana Lawson and painter Henry Taylor parse the art of portraiture in each of their different mediums.

Nari Ward by Lee Jaffe
Ward Nari 1

Ward’s Jamaican roots and home in Harlem have been recurring themes in his numerous installations. He speaks with Jaffe about three key works.

Jim O’Rourke by Jay Sanders
Orourke Jim 1

O’Rourke and Sanders go over the complex layerings—from lyrics to mixes to the LP’s cover—in O’Rourke’s recent pop album, Simple Songs.

David Diao by Matthew Deleget
Diao David 1

Diao’s first comprehensive retrospective, at the Ullens Center for Contemporary Art—fittingly, in the painter’s native China—is the occasion for a conversation that looks back at fifty years of artistic production.

Rachel Rose by Aily Nash
Rose Rachel 1

“I’m thinking about how we experience, or try to experience, infinite space and time through the most finite, basic methods.”

Tonya Foster & John Keene
Mutu Wangechi 1

Foster and Keene discuss the strategies for black resistance in their respective new books—the poetry volume A Swarm of Bees in High Court and Counternarratives, a collection of short fictions.

Alice Notley by Robert Dewhurst

Notley’s body of work consists of over thirty-five collections of poetry and prose. To consider her oeuvre, in her interlocutor’s words, is to court “cerebral and sensory overload.”

Annie Baker by Elianna Kan
Baker Annie 1

New York sees two of the playwright’s most recent works performed this fall, The Flick and John. She talks with Kan about her fondness for Chekhov’s plays, writing for certain actors, and the music of speech.

Artists on Artists
Ester Partegàs by Eduardo Abaroa
Partegas Ester 01

Mold-making and photography have an ambiguous relationship to whatever they reproduce. They can deliver the most faithful rendition of a given model, but it is precisely this similarity that makes them extraordinary, unreal.

Michael Childress by Susan Jennings
Childress Michael 01

It starts, of course, with water. A bath for the newborn, a baptism for the blank canvas.

Cameron Rowland by Ian Edward Wallace
Rowland Cameron 01

Of the various collected objects in Cameron Rowland’s studio—a fluorescent orange work coat, a bundle of street-sweeper bristles, several pot-medal badges—the most abundant are books. 

BOMB Specific

BOMB Specific by Katherine Hubbard

Katherine Hubbard is an interdisciplinary artist based in Brooklyn. 

First Proof
Two Poems by Tyehimba Jess

They said I wasn’t smooth enough / to beat their sharp machine.

Portfolio by Lori Ellison
Ellison Lori 01 Bomb 133
Piero by Gabriella De Ferrari

Where he grew up there were no museums, or art collections, or the possibility of being exposed to any form of art that was not reproduction. 

Outline for Novel I Will One Day Be Struck Dead While Reading by Blake Butler

Blue window where we waited for you.

The Babysitter at Rest by Jen George

Winner of BOMB’s 2015 Fiction Contest, selected by Sheila Heti

What do we want to know and how far are we willing to go to get it?: An epistolary novella by Julie Carr

Dear J.

I’ve been meaning to write to you for some time, though I am sure you are surprised to hear from me. 

Four Poems by Albert Mobilio

Maybe it started as a joke the apparitions, the decorative / locusts no beast could resist you had to laugh

Two Poems by Jimmie Durham

Drawn by the stone called / “Graphite” across white paper / By your/my hand, it is a pretty word, / And looks like and sounds like “visité.”

Editors Choice

Skinscreen: Art and Poetry at the New Museum’s Surround Audience Triennial by Alan Gilbert

The title Surround Audience evokes the ceaseless ambient noise of the digital age: not only social media but the Internet at large as the general virtualization and modification of human experience, physical bodies, and social interactions.

Pierre Huyghe’s Rite Passage and Human Mask by Chris Chang
Huyghe Pierre 01 Bomb 133

Huyghe is forever fond of systems that try to take care of themselves—regardless of whether they self-generate, naturally decay, or both.

The Racial Imaginary: Writers on Race in the Life of the Mind, Edited by Claudia Rankine, Beth Loffreda, & Max King Cap by Timothy Donnelly
The Racial Imaginary 01 Bomb 133

“I can’t distill it all,” Evie Shockley confesses in her contribution to this vital and multifarious print offshoot of Claudia Rankine’s online Open Letter Project.

Samuel Beckett’s Happy Days by Amber Power
Beckett Samuel Happy Days 01

Winnie is buried to her neck in scorched earth. A black revolver rests beside her chirping and disembodied head. Willie, her companion, feebly scratches on all fours at the impossible mound that separates them—at one point nearly rolling down its face into an empty abyss below. “Oh,” cries Winnie, “this is a happy day!”

Matt Freedman and Tim Spelios’s Endless Broken Time by Ander Mikalson
Matt Freedman and Tim Spelios 01

We gathered around you while you told ghost stories. It was a familiar, reflexive, ancient act to draw close to the beat and the voice. When the drummer tripped out a beat, your speech became a song.

Guillaume Apollinaire’s Zone: Selected Poems, translated by Ron Padgett by Dylan Furcall
Apollinaire Guillame 01

One of the joys of reading Zone is discovering the utter range of Padgett’s stylings as both translator and poet.

Actor, Playwright, Failure, Father, Fag—Conrad Gerhardt Strikes Again. Jeff Weiss and Richard C. Martinez’s And That’s How the Rent Gets Paid by Jim Fletcher
Weiss Jeff 01 Bomb 133

I was hearing about the return of this legendary serial epic for a few weeks before it happened. 

Fran Ross’s Oreo by Rone Shavers
Ross Fran 01

Originally published in 1974 and the only novel written by Fran Ross before her untimely death in 1985, Oreo walks the line between so many different worlds (highbrow/lowbrow culture, literary/genre fiction, black/white racial dynamics, and feminist/womanist gender politics), that it can only be described as postmodern.