BOMB 119/Spring 2012
“Awkward moments and mutual hostility” abound in this conversation with artist and provocateur Andres Serrano on his most recent collection of photographs of dead bodies.
Shirley Kaneda talks to fellow painter Mira Schor about incorporating feminist agenda in her work without “wallowing in victimization”.
Fae Myenne Ng’s novel, Bone, captures the experience of a Chinese immigrant family in San Francisco through language limited to the “absolutely necessary”.
English author Jeanette Winterson speaks about the implications of a genderless body, the importance of reinventing style, and the impolite writers of lengthy novels.
Barbara Hammer’s films Nitrate Kisses and Dyketactics take themes of gay sexuality to new heights by exploring the “polymorphously perverse” affection lesbians have for the phallic source and the taboos surrounding sex between seniors.
Award-winning director Gillian Armstrong talks to Liza Bear about the dramatic familial themes that draw some of her films together—and what it was like to first hear Australian accents in the movies.
Reginald Woolery interviews Senegalese writer and director Ousmane Sembene (Black Girl, Guelwaar, etc.) with a little help from John Singleton and Manthia Diawara.
Srinivas Krishna describes his wacky postmodern masterpiece Masala and shares with Lawrence Chua the difficulties of the “multicultural experience.”
Vernon Reid of the legendary all-black rock band Living Colour discusses success, racial dynamics in the entertainment industry and his ambitions for the group’s new record, Stain.
Laurie Carlos, playwright and actress, discusses her form of “autobiographical theatre” and the message she wants to send to black Americans about racism learned too young and the desire to self-mutilate.
In 1993, Craig Lucas spoke to Tony Kushner about his epic play, Angels in America. Kushner’s latest, The Intelligent Homosexual’s Guide to Capitalism and Socialism with a key to the Scriptures is playing at Public Theater through June 12.
Profile of architect Andrew MacNair, entitled “To Build a Song,” by David Shapiro. This article is only available in print.
Piece utilizing burns from a bomb fuse, as well as enamel and resin, on aluminum, Black-Eyed Sue by LC Armstrong. This article is only available in print.
Long poem about a man’s emotional conflict and the narrator’s unfortunate demise, “Come” by Pablo Tapay Bautista. This article is only available in print.
Painting on canvas of an invented torture device, Dave 1984-1990 (Headcrusher) by Kathe Burkhart. This article is only available in print.
Colored pencil on rag drawing, Delta 5 by Charles Long. This article is only available in print.
Interpretive drawing, Evening in Paris by John Lindell. This article is only available in print.
Four sets of handwritten lyrics, “Mars,” “Beauty Trip,” “This Tune” and “Rhyme” by Television’s Tom Verlaine. This article is only available in print.
A drawing (Portrait of Bill) and a photogram (Analgesic, Sugar and Saccharin #3) by Fred Tomaselli. This article is only available in print.
A woman sits in a gay bar and ponders her past of conflicted sexual orientation, “Loverboys” by Ana Castillo. This article is only available in print.
A man deals with a case of mistaken identity and his strange roommate, “Max” by David Rattray. This article is only available in print.
Duraflex photograph Olive Oil Swami by Keith Boadwee. This article is only available in print.
Abstract painting on paper, Poppie’s by Jimmie Durham, selected by Bill Arning and Paul Ramirez-Jonas. This article is only available in print.
A construction worker for the Navy returns home, “Riders to the Sea” by Maria Flook. This article is only available in print.
Oil painting on linen of a woman in a dress; The Web by Catherine Howe. This article is only available in print.
Two pencil drawings, Rope and Black and White Pillow by Catherine Murphy. This article is only available in print.
Two poems, “On These Days Driving” and “The Autobiography of A Tiny Buffalo” by Jose Padua. This article is only available in print.
