BOMB 113/Fall 2010
The booming business of the Mexico/U.S. border: Davis, chronicler extraordinaire of these apocalyptic times, connects the dots between the War on Terror, the War against Drugs, Immigration and Homeland Security.
The Family Tree (The Genealogies), the legendary Mexican writer and thinker’s shimmering Rashomon of her Jewish family’s past, is revisited on a drive to her childhood home in Mexico City.
Culiacán-based filmmaker Beto Gómez works against the grain of a Mexico City–dominated film industry to produce some of the most exciting new films in Mexico, including his most recent, Pink Punch.
George Mead Moore on Jan Hendrix’s roots in Oaxaca, Mexico and the process behind his giant scans of leaves he collects. This article is only available in print.
Hank Hine on black and white photographs celebrating native plants in Oaxca, Mexico by Graciela Iturbide.
Shot on location in Mexico in Spanish and a variety of Indian dialects, John Sayles’ film Hombres Armados (Men with Guns) is in many ways a truly foreign film. David L. Ulin talks with Sayles about how the film reflects the cultures it portrays.
Two abstract paintings, one oil on canvas (Untitled) and one watercolor, gouache and pencil on paper (Untitled (Mexico)) by George Negroponte. This article is only available in print.
Two oil on canvas paintings, Mexican Twilight and a center detail of My Father in Mexico by Michael Robbins. This article is only available in print.
Two black and white photographs of Mexico, titled Placed Trap and The Dreamer, by Manuel Alvarez Bravo. This article is only available in print.
BOMB Editor-in-Chief Betsy Sussler talks to Nicolas Echevarria, who makes films through the Centro de Produccion de Cortometrajo in Mexico City.
The black and white photograph of tangled tree branches in a play of shadows and light, titled New Mexico, by Amanda Means. This article is only available in print.
