Transcendence
In Mark McKnight’s photographs, the material of the terrestrial world merges with a celestial aspect. Dark bodies, asphalt, oily birds, decomposing stone, and dimpled flesh all radiate from a field of tarry shadow.
In Mark McKnight’s photographs, the material of the terrestrial world merges with a celestial aspect. Dark bodies, asphalt, oily birds, decomposing stone, and dimpled flesh all radiate from a field of tarry shadow.
David Lynch discusses painterly filmmaking, the importance of having final cut, and his latest musical project, The Big Dream, released July 16th.
April Bernard began Miss Fuller to explore the pathos of Margaret Fuller’s short, freethinking life.
“But here is what is most important to me—throwing myself into the present, the unanswerable, the unknown, the unquantifiable.”
Sussman’s remarkable new film, whiteonwhite:algorithmicnoir is an sci-fi narrative that constantly re-edits itself. The filmmaker talks to poet Yankelvich about outdated notions of the future, Malevich and Kazakh deserts.
Michael Goldberg (1924–2007) was BOMB’s most knowledgeable and discerning editor, one of America’s greatest painters, and one of our very dearest friends.
Found-objects sculptor Kenji Fujita talks with Betsy Sussler about why he is able to endow a group of otherwise ordinary materials with such poignancy and such grace.
