Disastrous screenings, Nam June Paik’s meeting with Bill Clinton, and time spent as a dog.
“If we know the government is funding the arts or funding journalism, then it behooves us to put structures in place that will allow for them to be fearless.”
“There’s rampant hypocrisy in this society—a hypocrisy verging on schizophrenia.”
“My addiction has to do with performance, with creating a very real situation and then dealing with all the physical problems surrounding it.” —Matthew Barney
Vladimir Sorokin on writing, pets, and questions that would make Nabokov ask you to leave the room.
As a young musician, Mohsen Namjoo first captivated Iranians’ attention with his magnificent album Toranj from 2007.
Hirschhorn’s site-specific, hyper-saturated installations enjoy what he calls “wastefulness as a tool or weapon.”
The notion of secret identity is celebrated cross-culturally; worldwide, the entertainment and service industries exploit its implicit escapism, that very human urge to live out something beyond the ordinary, out of the grasp of the everyday.
The second half of my conversation with Glenn O’Brien, Editorial Director of Interview Magazine. For part one go here.
Rebeck is busy this fall: “Poor Behavior,” is now in previews at the Mark Taper Forum in Los Angeles. Her play “Seminar,” starring Alan Rickman and Lily Rabe, opens on Broadway in November.
Marjane Satrapi’s wry and matter-of-fact memoir, Persepolis: The Story of a Childhood(Pantheon Books, 2003), was met with great acclaim throughout Europe, the United States, and the world—everywhere, that is, except her native Iran.
With his new film Kippur, eminent Israeli director Amos Gitai plunges into the chaos of war, its exhausting senselessness, its rupture.
Law Professor Kendall Thomas talks to the director about Hallelujah!, her latest documentary on the controversial performance artist Ron Athey. Thomas and Gund-Saalfield hash out the questions of religion, pain, and pleasure his performances provoke.
Gilles Peress, one of the most perspicacious and intrepid eyes in photography, covers the ongoing troubles in Northern Ireland, and the civil wars in Bosnia and Rwanda.
Director Miloš Forman began making films in Communist Czechoslovakia. He and writer Liza Bear talk about his film, The People vs. Larry Flynt, and censorship in the United States.
An in-depth interview with “one of America’s most indispensable and independent thinkers,” bell hooks, by BOMB contributing editor Lawrence Chua.
“A lot of discoveries can be made within the idea of storytelling by just subverting that whole idea of what has a beginning, a middle, and an end.”