Home of the Bill T. Jones / Arnie Zane Company
BOMB 139 Spring 2017
Early film, nineteenth-century science fiction, and experimental musical languages serve a young artist’s explorations of race and our political present.
If novelists could tell the story of climate change, they might spark the action scientists are calling for in order to save the planet.
From the Pentecostal churches of his youth to ’80s underground Goth punk and queer clubs to museums around the world, an iconic performance artist tells his story.
The prolific New York lyricist digs into songcraft on the occasion of his new autobiographical album, 50 Song Memoir.
We listen in as two painters talk painting, studio practice, and the way their works live out in the world.
A lifelong fascination with natural forms and outer space is at the heart of Hunt’s sculptures and paintings.
Body swapping, infinite loops, and ’70s conspiracy thrillers haunt the dynamic performances of a movie-loving artist and the actors he works with.
I’d rather be in my bed, eyes in the dark, lying on my back, head resting on a soft pillow, than in the desert, even in the company of Félicien David, even in the company of Sarah.
I got on the bus and saw that my seat was at the end of the aisle, next to a very pretty blonde. Typical blonde girl’s freckles under her eyes. She was wearing a black sweater and blue velvet pants. Her seat was next to the window.
I must work, I must eat, I must art, I must mother, I must friend, I must listen, I must observe, constantly I must live.
Inside a riot of grill-work demarcating property
Exist high-ceilinged perspectives leading to
Full window enlargements on visual themes:
this art sitting right in front of the door
occasionally lying down
Home and Away consists of letters exchanged between two friends, the Norwegian novelist Karl Ove Knausgaard and Swedish writer Fredrik Ekelund, over the course of the 2014 World Cup in Brazil.
Sarah Gerard’s essay collection, Sunshine State, embodies Florida’s unpredictability in the best sense.
Conceived as an extended meditation on labor and artistic practice, Mónica de la Torre’s newest work of poetry opens like a flyer pinned to a board or an email alert beaming at you from your inbox.
As her mother, Monique Sindler, lay dying, the artist Sophie Calle put a camera at her bedside in order to record her last words. Having always wished to be a part of her daughter’s work, her mother responded: “Finally!”
The book reopens questions about appropriation, intellectual property, and colonialism that followed Sun City Girls throughout their career, and also situates these questions within an increasingly globalized and digitized twenty-first century.
Hovsepian addresses current matters in her work, but she does so in a vocabulary that moves beyond binaries and beyond Western mentality, one that follows a different way of thinking and feeling.
I sat at the bar of the Zwiebelfisch in Berlin together with David Bell, the renowned Kant scholar; it happened to be one of his regular haunts and it was the only spot where we could have an undisturbed meeting whenever he was in Berlin.
In the spring of 2015, An-My Lê was invited by film director Gary Ross to photograph on the set of Free State of Jones, his period war film inspired by the life of Newton Knight, a Mississippi farmer and Southern Unionist who led an armed revolt against the Confederacy in 1864.
On the day of POTUS 45’s inauguration, alt-right front man Richard Spencer was punched in the face during an interview for Australian television.