BOMB 123/Spring 2013
Ida Applebroog’s paintings master the secret of psycho-drama: always in the midst of an action, their denouement is left to our imagination and fears. Patricia Spears Jones speaks with the painter about the everyday violence that surrounds pop culture.
Peter Campus, seminal artist of alternative media, returns to video in his series, Video Ergo Sum. Less conceptual than his earlier work, more personal and unabashedly beautiful, the piece reflect his ongoing investigation into the perception of self.
In Windward Heights, French Caribbean writer Maryse Condé transplants Emily Brontë’s Wuthering Heights to the island of Guadeloupe. The novelist talks to Rebecca Wolff about literature and politics, politics and life.
According to America’s longest running poet laureate, Robert Pinsky, “a poem’s medium is one human voice.” His Favorite Poem Project had the denizens reading out loud nationwide—a true vox populi.
Robert Altman cornered the American zeitgeist with wildly diverse films — Popeye, Cookie’s Fortune and Short Cuts — over a long, steady career. He discusses process, market and vision with writer Albert Mobilio.
Rap Poo-Bah and new media anti-tycoon Chuck D offers up his brand of economics in the land of virtual reality: free music. The politics of distribution and the poetics of rap set the music industry spinning.
Joseph Chaikin changed the face of theater with his Open Theater company and collaborations with Sam Shepard. The avant-garde director, who has garnered just about every theater award, speaks with Liz Diamond.
Portuguese architect Álvaro Siza blends the taut gestures of modernism with the complex, ever-shifting organic designs of nature and the city in his achievement at the Serralves Museum of Contemporary Art, which opened in Oporto in the summer of 1999.
This First Proof contains an excerpt from The Poet Game.
This First Proof contains an excerpt from the world is a woman.
This First Proof contains a written reflection by Betsy Sussler on the photography of Adam Bartos, who specializes in color-saturated images of “objects left behind.” For copyright reasons this content is available in print only.
Portfolio of photographs by Donna Decesare depicting the prevalence of poverty and gangs in neglected areas of El Salvador, Haiti and Belize. This article is only available in print.
This First Proof contains a reflection by Mimi Thompson on the photographs of Philip-Lorca diCorcia, which range from intimate portraits of friends and family to large scale street scenes. For copyright reasons this content is available in print only.
This First Proof contains an excerpt from Hook, Line and Sinker: The Handbook. For copyright reasons this content is available in print only.
Novelist Frederic Tuten is the guest fiction editor for this issue’s First Proof. He describes his selection of five excerpts from five different novels in this introduction. For copyright reasons this content is available in print only.
This First Proof contains an excerpt from La Bodega Sold Dreams. For copyright reasons this content is available in print only.
This First Proof contains the poems “Before I Begin,” “Life on the Prairie,” and “Miners on the Prairie.” For copyright reasons this content is available in print only.
This First Proof contains the poems “Requiem to a Dog in the Rain,” “New York: First Swim,” and “New York: Second Swim.” Translated by Tsipi Keller. For copyright reasons this content is available in print only.
Suzan Sherman reviews Collecting Visual Evidence, a collection of documentaries on various topics edited by Jane M. Gaines and Michael Reno. This article is only available in print.
This First Proof contains an excerpt from Where She Goes. For copyright reasons this content is available in print only.
Reviewer Benjamin Anastas identifies James Wood as the critic who interacts the most fervently with his library, attacking novels with ferocity and love.
