Bookworks
Painting that boils down shapes.
A compilation of text, photographs, illustrations and diagrams, The Art of McSweeney’sdocuments the history of the unique publisher as it rose from its precarious position as a hawker of rejected stories.
Translation as visitation. Translating silence, or the inability to translate silence. A word that does not want to be translated. Translation as story. Attempting to translate grief. Translation as unanswered letter to the dead.
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.
Elaine Lustig Cohen on the late Alvin Lustig and the art, and archiving, of the book jacket.
One of Mexico’s most important conceptual artists, Ulises Carrión, is also one of the most overlooked. BOMB Senior Editor Mónica de la Torre is moved to child-speak over poems that might seem gibberish, but are instead Cage-like koans.
In paying homage to Ed Ruscha’s Twentysix Gasoline Stations, Sowon Kwon’s book project dongghab suggests a connection between nascent American postmodernism and violence.
BOMBlog’s Rachel Reese talks with some of the founders and co-directors of Philadelphia’s Bodega, an artist-run exhibition and performance space in operation since 2010. Together they discuss the Philadelphia art community and Bodega’s role, as well as Bodega’s most recent exhibition Wax Apple.
This First Proof contains two pieces by Elena Berriolo, from Various Music For a While.
The Library of America, doing what it does best, offers six of Ward’s groundbreaking woodcut novels from the 1930s in a beautifully printed two-volume set.
We were saddened to hear of the sudden passing of poet and artist Robert Seydel. “Formulas & Flowers” from his Book of Ruth, first appeared in the Winter 2010/2011 issue of BOMB and has been reprinted here, with permission from Siglio Press. Visit the author’s page at Siglio Press’s website here to purchase the book.
A few years ago I began producing one-off publications that I registered officially with the International Standard Book Number agency. After a while I started to receive letters from the Legal Deposit department at the British Library asking me why I had not sent copies of my books, as required by law.
A few years ago I began producing one-off publications that I registered officially with the International Standard Book Number agency. After a while I started to receive letters from the Legal Deposit department at the British Library asking me why I had not sent copies of my books, as required by law.
Since 2001, I have structured my work as if it were a book of paintings with evolving chapters: the story unfolds via the exhibition situations, the past work, the paintings themselves, and the viewer’s place before them.
Christine Lagorio reflects on the peaceful Wings for Words: New Bookworks from Korea and Japan at the San Francisco Center for the Book.
Susie DeFord visits the basement of Brooklyn’s Old Can Factory to help sew chapbooks with publishing collective Ugly Duckling Presse.
Who gets written into history? Who is forgotten? What are the conditions under which eradication can occur?
For eight years, the Brooklyn-based arts organization Booklyn has championed what it calls “peoplemade books”: artist books, zines, and other small press.