BOMB 154 Winter 2021
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by Ted Dodson
by Charity Coleman
by Max Pearl
by Nicholas Elliott
by Matthew Rivera
by Marko Gluhaich
by Rosalyn Deutsche
ART: Mary Lovelace O’Neal
by Suzanne Jackson
ART: Walton Ford
by Andrés Reséndez
LITERATURE: Mattilda Bernstein Sycamore
by Amy Gall
MUSIC: Tashi Dorji and Aaron Turner
ART: Guadalupe Maravilla
by Janine Antoni
FILM: The Ross Brothers
by RaMell Ross
LITERATURE: Danielle Evans
by Jamel Brinkley
by Langston Cotman
by GennaRose Nethercott
by Brontez Purnell
by Rae Armantrout
by Allison Parrish
by Imani Elizabeth Jackson
by Michael DeForge
by Dindga McCannon and LeonRaymond Mitchell
by Steve Mumford
In the series of images, de Barros licks a typewriter’s keys, then its typebars, before becoming increasingly ensnared by the typewriter.
A sleek but sensitive compendium of cultural production and politics three years in the making and spanning more than two decades.
TV shows and films about alternate dimensions or alien planets are only convincing when paired with sounds that also seem otherworldly.
Artavazd Pelechian’s Nature is not about the end of the world, but you could be forgiven for thinking otherwise.
Reissued for the first time after fifty years, the Black Unity Trio’s rare and explosive free jazz album Al-Fatihah still resonates with the sounds of solidarity amid a scene of intense political struggle.
In 1919, André Breton and Philippe Soupault were coming of age in the wake of World War I and the Spanish influenza pandemic.
At some point in the late ’70s, when Douglas Crimp and I were art history doctoral students at the Graduate Center, CUNY, he invited me to the ballet.
The painters, who met in 1973, reflect on their experiences with student protests, the Black Panthers, and the pressure to be a “bigger guy” than their male counterparts.
The painter and the historian find common ground by unearthing narrative histories that have been overlooked and nearly forgotten.
In a two-way interview, the musicians talk about their approach to metal and improvisational music that navigates chaos and the division between genres.
By embracing the rituals of healing, Maravilla’s sculptures have taken on new meaning—and dimensions—in response to the pandemic.
In Evans’s first interview before the release of her new and unintentionally prescient collection, The Office of Historical Corrections, she discusses humor, power, and replicas of the Titanic.