BOMB 111/Spring 2010
ON NEWSSTANDS NOW
ON NEWSSTANDS NOW
Francine Prose, author of the novel Hunters and Gatherers, delves into realism and the real act of painting time with figurative painter Catherine Murphy.
Jo Baer became a renowned artist during the ‘70s with some of the most elegant abstract paintings to hit the New York art scene. Art historian Linda Boersma catches Baer’s critique of the art world then and now.
Earthquake! June Jordan, the award-winning author of 21 books, tells Josh Kuhn about her operatic collaborations and her libretto for I Was Looking at the Ceiling and Then I Saw the Sky.
Novelist Carole Maso unearths the darkness in the dizzying poems of Lucie Brock-Broido, collected in her 1995 book, a seven year project inspired by Emily Dickinson’s Master Letters.
Midnight—the perfect time to segue from good and evil to The Addiction and back. Abel Ferrara talks about his film while juggling the chaos of pre-production for his following release, The Funeral.
Todd Haynes, the director of Safe, first met Kelly Reichardt during the making of his film Poison. They take five to compare notes upon the release of Reichardt’s first feature film, River of Grass.
The inimitable bell hooks talks to director Wayne Wang about the beauty of the ordinary, re-appropriation and collaboration in his pair of films, Blue in the Face and Smoke.
Roy Hargrove’s Quintet with the Tenors of Our Time hit the top of the charts. Zoë Anglesey catches the soon to be legend between tours to find out more about his new albums, Family, Parker’s Mood (the great Bird’s) and the business of jazz.
Mac Wellman has written forty plays in twenty years. He speaks with Linda Yablonsky about his past work (“Bad Penny was the best thing I ever did”) and his adaptation of Ovid’s Metamorphosis, set in Florida.
Two paintings of pencil and casein on paper, titled Transplant One and Two by Elliott Green, accompanied by text from Saul Ostrow. This article is only available in print.
This First Proof contains the poem “Overheard in the Love Hotel.” For copyright reasons this content is available in print only.
This First Proof contains the excerpt “Document,” a chapter from Bigot Hall, A Gothic Childhood. For copyright reasons this content is available in print only.
This First Proof contains the photograph “Feather.” For copyright reasons this content is available in print only.
This First Proof contains the photo-montage “Over and Out,” photographs on paper. For copyright reasons this content is available in print only.
This First Proof contains photographic work by Judy Linn and text by Hilton Als. For copyright reasons this content is available in print only.
This First Proof contains two poems from The Hunger Wall, “The Ossuary at Kutná Hora” and “Obscurity.” For copyright reasons this content is available in print only.
This First Proof contains excerpts from Raised by Wolves: Photographs and Documents of Runaways. For copyright reasons this content is available in print only.
This First Proof contains The Afflliction, a baroque tale of art. For copyright reasons this content is available in print only.
This First Proof contains excerpts from the screenplay Thirty-Two Short Films about Glenn Gould. For copyright reasons this content is available in print only.
Two paintings of oil on canvas and linen based on the allegory of the cave, titled Tree Shadows and Detail of Arrangement by Ena Swansea. This article is only available in print.
This First Proof contains an ink and watercolor drawing Untitled, from Pierced Hearts and True Love: A Century of Drawings for Tattoos At the Drawing Center. For copyright reasons this content is available in print only.
In this First Proof, the author traps a famous author in her story “Use Me.” For copyright reasons this content is available in print only.
This First Proof contains excerpts from Walking on Air. For copyright reasons this content is available in print only.