BOMB 119/Spring 2012
Artists James Hyde and Archie Rand discuss the joys of cooking, Kline’s epitaph for Pollock, Warhol’s unconscious and the art of redemption in their favorite hideout—a hometown bar in Brooklyn. We listened in.
Mary Heilmann’s life’s work has stretched across two coasts and three generations, from Berkeley’s hippies to New York’s ’70s bohemia to the yuppified ’90s.
Alan Warner’s down-dirty characters and Scottish vernacular won him a Somerset Maugham Award for his book Morvern Callar. Amy Hempel e-mailed her queries about home and memory to the “utterly stylish” former railway worker.
Years before they met, Lorrie Moore made notes on Scott Spencer’s seamless and stunning novels. She pulled them out for this interview, pinpointing the author’s uncanny understanding of Freud and the vertigo of desire.
Law Professor Kendall Thomas talks to the director about Hallelujah!, her latest documentary on the controversial performance artist Ron Athey. Thomas and Gund-Saalfield hash out the questions of religion, pain, and pleasure his performances provoke.
Cassandra Wilson’s sophisticated jazz riffs cover everyone from Hank Williams to Miles Davis to the Monkees. Poet and music wiz Glenn O’Brien steals a téte â téte with the chanteuse not long after a night club appearance at New York’s Blue Note.
Vernon Reid writes on Edward Tenner’s book Why Things Bite Back: Technology and the Revenge Of Unintended Consequences, new technologies in music, and records by P.J. Harvey and Brian Blade. This article is only available in print.
In BOMB 67/Spring 1999 Coco Fusco got to the bottom of Elevator Repair Service’s avant-garde theater performance style. Right now, GATZ, their two-part, 6.5 hour, reenactment of The Great Gatsby, is on at the Public Theater through Nov. 28th.
Zoë Wanamaker’s performance in Sophocles’s Electra brought New York audiences to their feet every night in 1999. Catharsis never had it so good. Film director Bette Gordon talks to the legend.
Architect and writer Carlos Brillembourg visits Brasilia to meditate on the cities spontaneous history and its place in the pantheon of contemporary urban planning.
Betsy Sussler talks time, abstraction, certainty, and the unknown in the gestalt works of George Negroponte.
This First Proof contains the essay “Art, Danger and Sacred Space.” For copyright reasons this content is available in print only.
This First Proof contains the poems “Bond Girls,” “Benzene Ring,” “The Appeal of the Dead,” and “Becoming Bourgeois.” For copyright reasons this content is available in print only.
This First Proof contains artwork by Gregory Crane and April Gornik’s reflections on it.
This First Proof contains artwork by James Siena and Shirley Kaneda’s reflections on it. For copyright reasons this content is available in print only.
This First Proof contains the story “Project Toward the Reconstruction of the Definitive Recording of Brahms’ Piano Quartet No. 1 in G Minor: Part I, Allegro.” For copyright reasons this content is available in print only.
This First Proof contains the art “Reading a Garden.” For copyright reasons this content is available in print only.
This First Proof contains the story “Salt.” For copyright reasons this content is available in print only.
This First Proof contains the story “Suffer the Fool.” For copyright reasons this content is available in print only.
This First Proof contains the story “Then as Now.” For copyright reasons this content is available in print only.
This First Proof contains the poems “Madeline Steps: Four Colors” and “Liberal Arts.” For copyright reasons this content is available in print only.
This First Proof contains the poems “Moon Cherries” and “The Museum of You.” For copyright reasons this content is available in print only.
