In her paintings, videos, and installations, Ganesh plays with the distinction between art object and artifact, myth and history, to posit alternative, emancipatory futures.
For the past five years, artist Margaret Ross Tolbert has been traveling to southern Turkey to the site of ancient Lycia, an autochthonous culture with roots in the Bronze Age, later Hellenized, and eventually controlled by the Romans.
The Freshwater author on the ogbanje, Igbo, rejecting gender binaries, and using private journals as creative archives.
Investigating the interface between humans, nature, and technology.
“How does it feel to be a problem? they say, I know an excellent colored man in my town; or, I fought at Mechanicsville; or, Do not these Southern outrages make your blood boil? To the real question, How does it feel to be a problem? I answer seldom a word.
“The banners of the King of Hell come forth,”
My teacher said, “and straight at us.
Look ahead and see if you can see him.”
“I say your name, & another dies in my mouth because I know how / to plead / till a breeze erases the devil’s footprints.” Levi Rubeck reviews Yusef Komunyakaa’s book of poetry The Chameleon Couch.
Wait a minute Mr. Postman! Is there are review in your bag for me? BOMB contributor Jackie Wang kicks off her Epistolary Review series with Lily Hoang’s The Evolutionary Revolution.
Michael Ballou distrusts traditional art world classifications. His work is practical art; it follows his frank, literal, and can-do attitude of the Midwest, though often at the core of that onion is an idea so fleeting and spontaneous that a long contorted story involving a cast of dozens is the only explanation.
In Norman Thomas de Giovanni’s fine translation of Borges’s poem regarding a dagger resting in a desk drawer, a dagger, by the way, given Borges by his good friend and fellow Argentinian writer, Evaristo Carriego, Borges muses on the dagger’s lack of violent use.
I first met Laurie Sheck in the summer of 1995, at another poet’s, Julie Agoos’s place in Princeton. Laurie lived in Princeton too, and taught at Rutgers, and I was there visiting friends for the day.
José Bedia’s art is as fresh as wet graffiti and as ancient as cave paintings.
Like the gods and mortals in Ovid’s Metamorphoses, the characters in Achmat Dangor’s novel Kafka’s Curse transform—from Muslim to Jew, woman to hawk, man to tree; they seek revenge or love in horrible and wonderful ways; they betray or are betrayed.
Gregory Crewdson’s photographs of expansive dioramas recall Duchamp, Emerson, and the American suburbs. The documentary Gregory Crewdson: Brief Encounters is in limited release now.
This First Proof contains the poem “Wolf Soup.”
Artist Matthew Ritchie’s “project”—his paintings, sculptures and website—fuses myth, science and a host of funny-headed characters into a brave, new interactive world.