Keith Sonnier gets mystical discussing his sound installations and sculptures with Betsy Sussler.
Painter Michael McClard talks with Betsy Sussler about his newest works, which focus on science and the stars.
Documentarian Jacki Ochs discusses The Secret Agent, her film detailing the government’s use of Agent Orange during the Vietnam War and the subsequent cover-up, perpetrated by the government and the chemical industry, of the chemical’s toxicity.
Betsy Sussler on Michael Zwack’s esoteric, lore-filled paintings.
Betsy Sussler on the wide-ranging sexual innuendo of Emily Eveleth’s paintings.
BOMB Editor-in-Chief Betsy Sussler talks to Nicolas Echevarria, who makes films through the Centro de Produccion de Cortometrajo in Mexico City.
In her film Sleepless Nights, Becky Johnston choreographs the “linguistic rape” of a woman who finds herself torn between three obsessive men. Betsy Sussler explores the secret subtexts beneath Johnston’s fragmented narrative style.
In Aryeh Lev Stollman’s collection of short stories, The Dialogues of Time and Entropy, the author transposes the miracles of modern science with those of the Old Testament, filtering studies on time, entropy and chaos theory through the little miracl
BOMB Editor-in-Chief Betsy Sussler speaks to painter Ralph Humphrey about his personal artistic history and the influences in his work. Humphrey’s work is at Gary Snyder gallery through October 20.
Filmmaker Lizzie Borden imagines a post-revolutionary future in which women of all races band together to overthrow a male-dominated media and government. She discusses the film’s adoption of ‘60s counterculture rhetoric and the value of science fiction.
BOMB Co-founder and Editor-in-Chief Betsy Sussler celebrates BOMB’s ten-year anniversary and remembers the magazine’s beginnings. This article is only available in print.
Artist Robin Winters talks about his assorted odd jobs, his cast of characters, and sets an ultimatum for the American government.
Suzannah Lessard’s rumination, The Architect of Desire: Beauty and Danger in the Stanford White Family, and Honor Moore’s biography of her grandmother, The White Blackbird, reveal the myths and truths surrounding family legacies.
BOMB remembers poet and contributing editor David Greig Rattray. This article is only available in print.
Editor-in-Chief Betsy Sussler introduces BOMB 54. This article is only available in print.
Editor-in-Chief Betsy Sussler celebrates BOMB’s 15th anniversary and introduces the Editor’s Choice column. This article is only available in print.
Betsy Sussler grills playwright James McLure on his interpretations of Americana.
There is a curse upon the adventurers and mendicants, second sons of the aristocracy and would-be-sovereigns of their own destiny who sailed for the New World. Read about it in this review of The Leaves of Fate by George Robert Minkoff.
Betsy Sussler reports on Mary Heilmanns’ Two-Lane Blacktop show at 303 Gallery in February ‘09.
Pulitzer Prize-winning performance artist and playwright Eric Bogosian has seen numerous off-Broadway revivals of his work, not to mention film adaptations of two of his plays. In this interview he discusses Suburbia, along with Pounding Nails.
Betsy Sussler talks time, abstraction, certainty, and the unknown in the gestalt works of George Negroponte.
In a process of material and poetic interrogation, James Nares shares his practice, a return to origins, with Betsy Sussler.
Finding pleasure in the color and order of the grid, painter Georgia Marsh speaks with Betsy Sussler about art as a means of description and finding rhythm in the world around us.
Guy Gallo’s screenplays are works of poetic artistry with a spiritual air. His produced adaptations such as, Under the Volcano, A Flag for Sunrise and Prince of Peace speak to the unavoidable dilemnas of passion.
This First Proof contains a written reflection by Betsy Sussler on the photography of Adam Bartos, who specializes in color-saturated images of “objects left behind.” For copyright reasons this content is available in print only.
A portfolio of Lisa Hoke by Betsy Sussler, concerning Hoke’s sculptures. This article is only available in print.
From photographing the New York artists of the ’60s and ’70s to capturing the streets of Cuba and El Salvador, Gianfranco Gorgoni speaks to Betsy Sussler about his move to photo-journalism and subsequent responsibility of bearing witness.
Up for experimental theater? Try the Cucaracha Theatre company. Drama, death, dreams—they go there in conversation with Betsy Sussler.
Betsy Sussler on how Rachel Foullon’s paper sculptures explore concepts of home and archeological history.