The writers on their latest collaboration, Brothers of the Gun: A Memoir of the Syrian War.
There’s a content to forgetting, just as there’s a content to remembering.
In the New York of a decade ago, the square inches of blue eye shadow, lip-disappearing moustaches, and ludicrously suggestive grapefruits dotting the pages of Soul Jazz Record Publishing’s history of disco record covers were still easily plucked from dollar bins and discarded curbside stacks.
In continuation of BOMBlogs reprint series of San Francisco’s [2nd floor projects], Matt Sussman writes from a collection of illustrated artworks by Matt Borruso that inspire visions of a post-apocalyptic environment.
Anti urban segregation through zoning.
For the last five years, Robert Crumb, the father of underground comix, has been laboring over a graphic retelling of the first book of the Bible.
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.
What makes dreams so confounding and revealing is their juxtaposition of things known or remembered with the complete mysteries that lurk in the subconscious.
Here’s something revealing: If you send Gary Panter $225 and one to three keywords—sex, girls, and robots being the most popular words the artist receives—he’ll make you an original six- by eight-inch drawing based on those words.
A few weeks ago I loaded the station wagon with popcorn and beer and we all piled in, off to enjoy a lost American family experience: the drive-in.
Leah Beeferman on the art of Gregory Blackstock.
Lincoln Perry’s mural at the University of Virginia re-envisions the building’s view of distant mountains as the acme of a kind of secular Pilgrim’s Progress.