“I love to be entertained and titillated. I also have a brain and it’s hard to stop thinking and fully enjoy problematic things.” Roxane Gay, BOMB 128

1 month ago ・ 7 notes
    • Victor Ehikhamenor, I am Ogiso, the King from Heaven, 2017. Rosary beads on lace textile. 262 x 177 x 10 cm. Copyright the artist. Courtesy Tyburn Gallery.

    Victor Ehikhamenor, I am Ogiso, the King from Heaven, 2017. Rosary beads on lace textile. 262 x 177 x 10 cm. Copyright the artist. Courtesy Tyburn Gallery.

    11 months ago ・ 24 notes

    • There are actually two recordings here, made many months apart and then superimposed on one another. For me, each would qualify as play—as both scenarios only involved turning on a recorder in a particular space, without any intention of producing a proper piece. More than anything, each was straight documentation.

    –Byron Westbrook, in a piece commissioned for BOMB. 

    Source ・ 1 year ago ・ 4 notes
    • We visited Nina Chanel Abney’s studio ahead of her two must-see shows at Mary Boone Gallery & Jack Shainman.

    We visited Nina Chanel Abney’s studio ahead of her two must-see shows at Mary Boone Gallery & Jack Shainman.

    1 year ago ・ 4 notes

    • People in power probably assumed that because I was writing about poor black southerners, no one would want to read about them. It feels good to get this kind of recognition now and to know that many will read about the kind of people I’m talking about and find the stories universal in some way.

    - Jesmyn Ward, author of Sing, Unburied, Sing

    1 year ago ・ 24 notes

    • I would maintain that an individual body cannot be really understood or described if you treat it as bounded by its skin.

    - Anthony McCall, BOMB 97

    2 years ago ・ 54 notes
    • This work by Jonathan Horowitz was produced as a poster for the Jewish Museum exhibition Take Me (I’m Yours).

    This work by Jonathan Horowitz was produced as a poster for the Jewish Museum exhibition Take Me (I’m Yours).

    2 years ago ・ 12 notes
    • Halloween costume challenge: Asger Carlsen’s HESTER. (See more in his portfolio for BOMB.)

    Halloween costume challenge: Asger Carlsen’s HESTER. (See more in his portfolio for BOMB.)

    2 years ago ・ 12 notes
    • Happy halloween! If we could figure out the costume we’d definitely go as Dana Schutz’s Face Eater.

    Happy halloween! If we could figure out the costume we’d definitely go as Dana Schutz’s Face Eater.

    2 years ago ・ 18 notes
    • Dianna Frid, NYT. APRIL 24, 2014, RICHARD H. HOGGART, embroidery floss and graphite mounted on canvas.

    Dianna Frid, NYT. APRIL 24, 2014, RICHARD H. HOGGART, embroidery floss and graphite mounted on canvas.

    2 years ago ・ 235 notes
    • Sarah Oppenheimer, S-399390, glass, metal, wood, and architecture, dimensions variable.

    Sarah Oppenheimer, S-399390, glass, metal, wood, and architecture, dimensions variable.

    2 years ago ・ 31 notes
    • Njideka Akunyili Crosby, Something Split and New, acrylic, charcoal, pastel, colored pencil, collage, and transfers on paper. From her conversation in BOMB 137: “Chinua Achebe says that the English language, when altered, can be used to bear the...

    Njideka Akunyili Crosby, Something Split and New, acrylic, charcoal, pastel, colored pencil, collage, and transfers on paper.

    From her conversation in BOMB 137: “Chinua Achebe says that the English language, when altered, can be used to bear the burden of his African experience. I extrapolate from that and try to put it into painting.”

    2 years ago ・ 25 notes

    • If your character is a macho, then let him be as macho as macho can be. Just recognize that if everything in your book is macho and you don’t realize it because that’s how you see the world, it’s a blindspot.

    - Laia Jufresa, author of Umami, from her conversation with Valeria Luiselli in BOMB 137.

    2 years ago ・ 12 notes

    • I felt a great deal of hesitation and fear, and I assumed that I would never publish anything—it doesn’t make sense to me now, and, at this point, it’s hard to go back into that kind of mental territory. My life was a struggle. I don’t want to go into detail about what kind of struggle, but, you know, I struggled, and I was always having these little epiphanies where I would think, Oh my God, I’m thirty-one and I’ve finally figured it out. Oh, I’m thirty-six, forty-two, or forty-nine. I constantly felt I was always just finally getting life right. I was never out of my mind, or maybe I should say I was out of my mind in a very sane way, where I was just sitting down and thinking hard about everything I could figure out about life and then drawing conclusions.

    - Nell Zink (Mislaid, Nicotine) from her conversation in BOMB 137

    2 years ago ・ 15 notes
    • Choreographer, dancer and writer Okwui Okpokwasili in Bronx Gothic, Danspace Project, New York. From her conversation in BOMB 137: “The spectacle of brown and black bodies in pain is a deep tradition in this country. I’m not interested in...

    Choreographer, dancer and writer Okwui Okpokwasili in Bronx Gothic, Danspace Project, New York.

    From her conversation in BOMB 137: “The spectacle of brown and black bodies in pain is a deep tradition in this country. I’m not interested in transcending it; I’m living in it.”

    2 years ago ・ 6 notes