BOMB 119/Spring 2012
Carl Apfelschnitt describes his hands-on, raw approach to abstract painting as the “expressionistic” work of a “primordial monster”. Sarah Charlesworth probes the artist about how he becomes “part of the paint”.
Photograph titled Extension Cord by Jimmy DeSana.
Four photographs, titled Polaroids, by Mark Magill.
The ever revealing ever shocking writer/actress Cookie Mueller reflects upon early love in her short story, “A True Story About Two People: Easter 1964.”
Filmmaker Amos Poe discusses the making of Subway Riders, a film about a serial killer/saxophonist played by John Lurie. Poe explains his casting rationale, the importance of catching the zeitgeist, and his dreams of Hollywood backing.
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 this vintage interview from the 1981 inaugural issue of BOMB Magazine, co-founder and editor-in-chief Betsy Sussler talks about her role in the making of Menage.
David Ehrenstein discusses Eric Mitchell’s Underground USA., a New Wave remodeling of Billy Wilder’s Sunset Boulevard set in ’80s New York.
Filmmaker Michael McClard discusses collective improvisation, his film Motive, and why he wishes it could be longer.
From childhood memories of the Cold War to Pope sighting with Viva, Gary Indiana writes a connection “between religion and nuclear war” in his short story “Black Moon.”
Lynne Tillman writes of the trials of expats and love in her short story “Coming of Age in Xania.” This article is only available in print.
An excerpt from Double Lunar Dogs by Robert Heinlein which Joan Jonas breathed life into as a video performance. This article is only available in print.
Watch your back. Terence Sellers warns of the perils on the grittier side of the street in her short story “Fag Rag”. This article is only available in print.
An excerpt from Craig Gholson’s novel Too Smart to Have Fun, capturing the quintessential downtown New York band in the ’80s. This article is only available in print.
David McDermott, in his piece “Futuristic Rhythm,” envisions manners and sharing of the future past’s polite society. This article is only available in print.
Rebel writer Kathy Acker’s short story “Great Expectations” revisits Dickens through a punk lens. A touchstone of sorts, this piece opens BOMB issue 1. This article is only available in print.
Artist, writer, and occasional performance artist, Tina L’Hotsky relates her experience as an extra, a Marilyn Monroe look-a-like to be exact, on an undisclosed Woody Allen film. This article is only available in print.
Working rough for Lullabye, a seriagraph of Harry Crosby, by Duncan Hannah. This article is only available in print.
Liza Bear presents the Non-Aligned Movement’s proposition to establish the New World Information Order along with the first chapter of its manifesto. This article is only available in print.
Photograph, Part II of XXIV Seasons, by Leslie Schiff. This article is only available in print.
A review of Anthony McCall, Claire Pajaczkowska, Andrew Tyndall, and Jane Weinstock’s film, Sigmund Freud’s Dora. The film explores an unresolved psychoanalysis published by Freud as “Fragment of an Analysis.” This article is only available in print.
Reading something like a manifesto, this article captures the legendary television program that was part cocktail party part political party, Glenn O’Brien’s TV Party. This article is only available in print.
A preview piece, including film stills and text, for the film The Third Person, written, directed, and produced by Michael Oblowitz. This article is only available in print.
Duncan Smith explores the many facets of diamonds and all they imply in his piece “Why Diamonds Are a Girls Best Friend.” This article is only available in print.
