BOMB 123/Spring 2013
Art in Public Space contains work by David Hammons, Jenny Holzer, Daniel Martinez, Mierle Laderman Ukeles, Corky Lee, Peggy Diggs, Christian Boltanski, Agencia de Viaje, Felix Gonzales Torres, Vito Acconci, Marsland-Ovalle, and Jeff Koons.
Jeffrey Vallance’s art has infiltrated the Vatican, the Debbie Reynolds Museum, the Liberace Museum and a Nautical Museum not far from the Arctic Circle. Writer David Pagel quizzes Vallance on the sacred and the profane.
Irvine Welsh has been coined as the acid house badboy of Scotland. He also happens to write like a sonovabitch, a term he’d appreciate. Writer Jenifer Berman and Welsh discuss class allegiance, class betrayal, and “trainspotting” among the muckers.
After an eight year hiatus, the Zen Amsterdam cop returns in van de Wetering’s The Hollow-Eyed Angel. Painter and writer Stanley Moss talks to the former monk/patrolman about the unconventional crime and the unconventional solution.
Philosopher Nick Pappas and painter Katy Martin, who has currently entered the foray of film, discuss Plato’s challenge to poetry and examine conceptions of the idiosyncratic and the subjective.
Excerpts from Ada Gay Griffin and Michelle Parkerson’s film A Litany for Survival, on the great American poet, Audre Lorde. Tributes and insights from the poet herself, friends and family on what it means to live in the heart.
Cheick Oumar Sissoko makes African films for an African audience. Manon Slome and he discuss what this means: the difficulties, the differences and the ingenious determination with which a culture renews itself.
With Mark Eitzel at the helm, American Music Club garnered praise and a devoted following. Songwriter Michael Kroll talks with him upon the release of his album 60 Watt Silver Lining, about eavesdropping, lyrics and the importance of cerebrity focus.
From Tone Dialing and our master of the saxophone: “To know or knowing to think doesn’t mean you know. Going and getting back to where you came from is like going again. Nature has no nature.”
What does illusion, Kafka, Gospel music, Bunraku puppets, Sophocles, the Baroque and a dog named Rose have in common? Lee Breuer. One of our most gifted theatrical directors talks with painter Michael Goldberg.
Playwright and screenwriter Frank Pugliese and actress Martha Plimpton get real about what it means to make work, get work and keep on living in New York, L.A. and the theater world.
This First Proof contains art by John Laub alongside John Ashbery’s reflections.
This First Proof contains art by Carlos Reynoso and Laren Stover’s reflections on it. For copyright reasons this content is available in print only.
This First Proof contains “Carving Babies,” an excerpt from the novel The Insult For copyright reasons this content is available in print only.
This First Proof contains “Day and Night, Part Two,” an excerpt from the novel No Lease on Life. For copyright reasons this content is available in print only.
This First Proof contains art by Diana Michener and Deborah Eisenberg’s reflections on it. For copyright reasons this content is available in print only.
This First Proof contains art by Elliot Schwartz and Richard Milazzo’s reflections on it. For copyright reasons this content is available in print only.
This First Proof contains an excerpt from the novel Mercy of a Rude Stream, Vol. III: From Bondage. For copyright reasons this content is available in print only.
This First Proof contains art by Luca Buvoli. For copyright reasons this content is available in print only.
Editor-in-Chief Betsy Sussler celebrates BOMB’s 15th anniversary and introduces the Editor’s Choice column. This article is only available in print.
This First Proof contains “Our Music Lesson #2, Or How We Appropriated You: An Imaginary Short Starring Elvis Chang, Rocky Rivera, and Jimi Hendrix,” an excerpt from the novel The Gangster of Love. For copyright reasons it is available in print only.
This First Proof contains “Tiara,” an excerpt from the novel Distortion. For copyright reasons this content is available in print only.
This First Proof contains the poems “Tomis” and “The Domed Road.” For copyright reasons this content is available in print only.
This First Proof contains the poems “My Father” and “Poem.” For copyright reasons this content is available in print only.
Ben Kinmont’s breakfast-based artwork, Waffles, and uncatalogued archive boxes prompt reviewer Bill Arning to consider how social sculpture manifests itself in the world outside the museum.
