BOMB 155 Spring 2021
by Ali Hassani
by Clinton Krute
by Regine Basha
by Tim O’Leary
by Ilana Masad
by Anderson Tepper
by Michelle Lopez
by Sarah Neilson
by Shiv Kotecha
by Asiya Wadud
by Will Chancellor
by Sofia Dixon
by Jonathan Lee
by Ananda Naima González
by Tara Ison
by Jo Stewart
by Farid Matuk
by Joyelle McSweeney
by Somnath Bhatt
by Wendy S. Walters
From the Archive
by Barbara Kruger and Richard Prince
In the 1890s in Berlin, a young sculptor started going out collecting plants.
Somewhere in post-Soviet Moscow, the narrator of Maria Stepanova’s In Memory of Memory rummages through the apartment of her recently deceased aunt and comes across a collection of family photographs, some over a century old.
Camilo Restrepo’s debut feature, Los Conductos, traces the wanderings of a wiry mendigo named Pinky, in a sepulchral unnamed city.
Prvački releases three wry videos offering coping strategies for our bleak and awkward new social reality.
Syan Rose’s intimate conversations with a wide spectrum of queer and trans people coalesce with her art as she portrays the people she spoke with.
In her latest book, Girlhood, the essayist examines her own coming of age and finding the words to forge a new self.
The artist’s new sculptures evoke Rorschach-esque flowers and body parts, the threat of climate change, and life on another planet.
June explores the roots—and the promise—of blues, gospel, and folk music on her new album, The Moon and Stars: Prescriptions for Dreamers.
This excerpt is from BOMB’s Spring 2021 issue.
The artist and poet discusses his childhood as a first-generation Palestinian immigrant, the formation of selfhood in preadolescence, and the psychology of drifting.
The two writers stroll the streets of Manhattan to talk about Dimitrov’s new poetry collection, Love and Other Poems, which traces his affection for the city.
In our summer issue iconic painter/photographer Richard Prince and conceptual collagist Barbara Kruger revisit their 1982 interview in honor of BOMB’s 40th anniversary. Prince’s reflections appear in the footnotes, while Kruger’s annotations weave throughout the text.