BOMB 118/Winter 2012
Eight women artists respond to Saul Ostrow’s gendered questions on the significance of being a woman artist…all to raise further questions on the (ir)relevance of gender roles.
James Rosenquist, one of the key American Pop Artists, has been making and showing his paintings for several decades. His early ‘60s work, like that of Warhol and Lichtenstein, provides a seductive but critical mirror image of the mass media.
Artist Jeremy Gilbert-Rolfe and poet David Shapiro discuss the role of criticism and influence in art, ranging from abstract representations of space to why the Beastie Boys are more transgressive than the avant-garde.
Photograph, titled Site of the First Self-sustaining Controlled Nuclear Chain Reaction December 2, 1942; Chicago, Illinois, by James Welling.
Oil and emulsion on canvas, titled The telescope with its lenses had swallowed the stars, by Fariba Hajamadi.
Julian Barnes was awarded the prestigious Booker Prize for his novel The Sense of an Ending. He spoke with Patrick McGrath in 1987 about sex, Flaubert, and being obsessed with obsessions.
A photographer’s journey through Belfast to Liverpool, “The Colorist,” by Susan Daitch.
Filmmaker Diane Kurys, a French woman directing in English, discusses the unsexiness of onscreen sex, the possibility of loving two people at the same time, and other improbabilities.
Playwright Richard Greenberg discusses the importance of writing the same play over and over again.
Like a walk through the City with the poet, “A Poem in Two Homes,” by Eileen Myles. This article is only available in print.
Acrylic on paper work, titled Artistic Anatomy, by Tyler Turkle. This article is only available in print.
An excerpt from the novel Burma, “Borrowed Times,” by Gary Indiana. This article is only available in print.
A black and white photograph, titled Dystopia, by Orshi Drozdik. This article is only available in print.
When the ridiculous snowballs and is mistaken for attempted suicide, “Executrix,” by Barry Yourgrau. This article is only available in print.
Five poems, “The Ancient One,” “Green Haven Halls,” “Paranoia,” “After Almost Twenty Years,” and “Death Row,” by Charles Culhane. This article is only available in print.
Acrylic on canvas painting, titled Inventory, by Suzan Etkin. This article is only available in print.
Silverprint, titled Lovers, by Adam Fuss. This article is only available in print.
Oil stick and paper collage, titled Matisse and Laura Ashley Border, by Jane Kaplowitz. This article is only available in print.
Oil on canvas painting, titled Mont Sainte Victoire, by Mark Tansey. This article is only available in print.
A fashion portfolio of 1988 Spring/Summer pieces by New York designers featuring the art direction of Peidad Palencia with the fashion direction of Zachy Smith and the photography of M. Sherif. This article is only available in print.
An epistolary romance, “Return to Sender,” by Klaus Kertess. This article is only available in print.
A life lived to the hilt and cut short at the edge of a road, “The Hilt” by Gordon Lish. This article is only available in print.
Two paintings—process inks on canvas, titled The Left Behind and Souvenir, by Meyer Vaisman. This article is only available in print.
Two silkscreens, titled S.O.S. and Caeser, by Philip Galgiani. This article is only available in print.
Two photographs, Untitled (After Alexander Rodchenko 4), by Sherrie Levine. This article is only available in print.
