Recommended: Sampson Starkweather’s animated poetry gifs on Imperial Matters and BOMB Daily.

Recommended: Sampson Starkweather’s animated poetry gifs on Imperial Matters and BOMB Daily.

  • You can’t talk about Nigeria in any context without Soyinka. The country comes to birth in Soyinka’s imagination. There’s no political moment, no nationalistic moment that he doesn’t have some involvement in. Purely as a voice of conscience, he’s been the one constant. In Nigeria we have 250 ethnicities that are engaged in the often violent moments of self-determination. Soyinka is one of a few people able to occupy that duality that’s required if Nigeria is to find itself.

    - Chris Abani, from his conversation with Colm Tóibín. Abani’s book The Face: Cartography of the Void publishes today courtesy of Restless Books.

  • Yayoi Kusama’s pumpkin sculptures, on view now in London. (Here’s Kusama’s original interview in BOMB’s Issue 66.)

    Yayoi Kusama’s pumpkin sculptures, on view now in London.
    (Here’s Kusama’s original interview in BOMB’s Issue 66.)

  • Dumbed down by Pina Coladas & Palm Trees.
Today’s Portfolio by Candice Jacobs

    Dumbed down by Pina Coladas & Palm Trees.

    Today’s Portfolio by Candice Jacobs

  • The Internet is not a place. It’s a great void, a black hole, from which you can call up an incredible amount of disorganized information.

    - Eleanor Antin

  • Eleanor Antin, 100 Boots Cross Herald Square. 35th Street and Broadway, New York City, May 13, 1973 8:10 am. Mailed: June 6, 1973. Black and white photograph.

    Eleanor Antin, 100 Boots Cross Herald Square. 35th Street and Broadway, New York City, May 13, 1973 8:10 am. Mailed: June 6, 1973. Black and white photograph.

  • Genesis BREYER P-ORRIDGE, Mum & Dad, 1971, mixed media, 11 × 15”.

    Genesis BREYER P-ORRIDGE, Mum & Dad, 1971, mixed media, 11 × 15”.

  • Mitch Epstein, Amos Coal Power Plant, Raymond City, West Virginia 2004. From the series American Power. C-print, 70 × 92 inches. Courtesy of Sikkema Jenkins & Co., New York.

    Mitch Epstein, Amos Coal Power Plant, Raymond City, West Virginia 2004. From the series American Power. C-print, 70 × 92 inches. Courtesy of Sikkema Jenkins & Co., New York.

  • Larry Sultan, Practicing Golf Swing, 1988, Ektacolor Plus, 30 × 40”. Inset: Argument in the Hallway, 1988, Ektacolor Plus, 30 × 40”.
"I want to measure how a life was lived against how a life was dreamed."

    Larry Sultan, Practicing Golf Swing, 1988, Ektacolor Plus, 30 × 40”. Inset: Argument in the Hallway, 1988, Ektacolor Plus, 30 × 40”.

    "I want to measure how a life was lived against how a life was dreamed."

  • Daniel Bachman interviews Mary Lattimore & Jeff Zeigler about their new record Slant of Light:

    Daniel Buchanan: Mary, did you have some ideas that you wanted to expand upon?
    Mary Lattimore: No ideas. (laughter) We’d just start off with a little nugget of a thought. I would start playing this thing and Jeff would be like, Okay, I’m going to learn this on the guitar and double it, or add a layer with the melodica. And that was the beginning. There were little kernels that came out of improvisation. We just sort of expanded those little kernels and then played them a second time to see what shape they could take. Three out of the four songs are second takes, and the other is the first take.
    DB: Yeah, that’s another thing I wanted to ask you about after listening to it through, which I did on the car ride back down here. Are there other instruments in the mix?
    ML: Oh yeah. The new instrument—the melodica!
    Jeff Zeigler: Just synth, melodica, and the giant vaporizer, basically. (laughter) Harp, synth, melodica, guitar, and that’s pretty much it.
    DB: Is there some kind of percussion on the last track?
    JZ: No, that’s my guitar through a ring modulator.
    DB: Whoa.
    JZ: Yeah, it’s real clangy sounding. It’s all guitar.
    DB: It’s nice.
    JZ: Thanks.
    DB: That last track is pretty far out.
    JZ: Yeah. It’s like a good bad trip.
    DB: (laughter) It’s like when you’re really having a bad experience and your stomach’s in your throat and then you kind of settle back in, but then it leads you along again, and you’re like, I’m not out of it yet.

  • Steve Bishop:

I was traveling in the California desert recently and by chance came upon a group of buildings laying in ruin while trying to find the Borax Mine outside the town of Boron. I filmed the ruins and it later became part of a larger work which is currently on show in Geneva. I came back to London full of intrigue as to what I had chanced upon, and why these peculiar buildings were in the middle of seemingly nowhere.

    Steve Bishop:

    I was traveling in the California desert recently and by chance came upon a group of buildings laying in ruin while trying to find the Borax Mine outside the town of Boron. I filmed the ruins and it later became part of a larger work which is currently on show in Geneva. I came back to London full of intrigue as to what I had chanced upon, and why these peculiar buildings were in the middle of seemingly nowhere.

  • Christian Haub, Keith Moon Float, 57 x 42 x 3.5 inches, cast acrylic sheet.

    Christian Haub, Keith Moon Float, 57 x 42 x 3.5 inches, cast acrylic sheet.

  • Luis Camnitzer, Real Edge of the Line that Divides Reality from Fiction, 1974-75, mixed media, 13½ x 9 7/8 x 2”. Photo by Peter Schälchli, Zurich.

    Luis Camnitzer, Real Edge of the Line that Divides Reality from Fiction, 1974-75, mixed media, 13½ x 9 7/8 x 2”. Photo by Peter Schälchli, Zurich.

  • "I’m really interested in making something that is entirely alive in each frame."

    Filmmaker Tim Sutton talks about his new film Memphis.

  • I asked the doctor and he confirmed that there is white skin under black skin. A teacher of his once took a very thin slice of skin off a cadaver and showed it to his students and said, ‘This is the thickness of racism.’

    - Andres Serrano