BOMB 118/Winter 2012
Carlos Brillembourg and Keith Sonnier lay their architectural photos, sketches, doodles, and words bare.
Artist Mike Metz explores the “public work and solitary life of Dan Graham,” who situates works within “such insulated worlds as slick magazine, suburban home, corporate atrium, mall, coffee shop, public garden.”
Richard Whelan interviews painter Dona Nelson about her fifth New York solo exhibition. Nelson discusses her experience as a woman in the male dominated world of painting.
David Humphrey speaks with fellow painter Lawrence Gipe. With both humor and candor, the two artists tackle questions of power struggles and past lives, addressing the artist’s capacity to unpack the fictions of authority.
Campbell McGrath is a poet with a refreshing voice and a contemporary style. McGrath Considers poetry the most favorable medium through which he is able to voice his concerns and observations.
Murakami’s expert manipulation of the mundane into the magical has made him one of the most ubiquitous voices in contemporary fiction.
Novelist Stephen Wright does not simply tell a story. He takes the basic form of the novel and turns it inside out. His novels such as, Going Native, expose the strange and intriguing lives of characters that would normally fade into the background.
Actress, producer, director speaks to Lynn Geller about the what it takes to be a successful woman in the industry: three day fasts and cannibalism…
Filmmaker and BOMB contributing editor Bette Gordon speaks to acclaimed director Mike Leigh upon the release of his award-winning 1993 film, Naked.
Director Tran Anh Hung on creating a Vietnamese cinematic legacy from nothing, and the creative perspective of expatriation.
Julius Hemphill is a saxophonist and composer born and bred in Fort Worth Texas. Hemphill’s motivation to create comes from the limitless possibilities of improvisation. Throughout his career he has made an effort to work across disciplines.
Robert Shenkkan talks to Stuart Spencer about his nine-play, six-hour epic The Kentucky Cycle, which won the 1992 Pulitzer Prize for Drama.
Through the friendship of Pheobe and Charlene, art and life, city and country are explored in “Amulet” by Dee T. Axelrod. This article is only available in print.
Two untitled drawings by David Fludd, ink and watercolor paper. This article is only available in print.
Ironic reflections on youth from Walter K. Lew, “Excerpts from 1982.” This article is only available in print.
Two abstract untitled drawings by Judith Hudson, gouache on paper. This article is only available in print.
Untitled charcoal drawing by Katherine Bowling depicting a group of trees. This article is only available in print.
Beauty and provocation are explored between a painter wanting her love story with a musician, “Miranda’s Lips” by Laren Stover. This article is only available in print.
A woman confronts her childhood upon the disappearance of her father, “Nothing Physical is Invented” by Jane Warrick. This article is only available in print.
From his perch and cat-bird seat at the bar of Rounds, a rent boy gives his take on a life of johns and tricks. This article is only available in print.
Detail of The Joker Episode of the Avengers, by Karen Kilimnik. This article is only available in print.
A black and white photograph of the installation The Magic Flute Back Stage, courtesy 303 Gallery. This article is only available in print.
An image created with toner on paper by Mark Tansey, depicting the interior of a theater and its seated audience. This article is only available in print.
Three poems, titled “Next,” “Homefire,” and “R.S.V.P.” by Mervyn Taylor. This article is only available in print.
Two poems titled “My Eyes Adore You” and “Dead Dogs RIP” by Lois-Ann Yamanaka. This article is only available in print.
A symmetrical laser print by the artist Joseph Nechvatal from the Computer Virus Project, 1993. This article is only available in print.
