BOMB 118/Winter 2012
Janet Cardiff takes elements of cinema and places her audience within its borders, transposing us into the realm of the subliminal. The Paradise Institute, her simulation of the sensorial cinematic experience, was a hit at the 2001 Venice Biennale.
Tragically, artist Stephen Mueller passed away this past week. He has created paintings that defy categorization at once abstract and suggestively figurative, minimal, sensual, and self-referential.
Patricia Spears Jones talks to poet Cornelius Eady in this Spring 2002 interview. Eady recently collaborated with Jones on Think: Poems for Aretha Franklin’s Inauguration Day Hat..
Laurie Sheck’s poems, in which the mythical becomes a piercing and appropriate lens on the modern, have been included in two Best American volumes, three Pushcart anthologies, and garnered glowing reviews in the wake of three published collections.
Notorious, enigmatic post-Soviet mythmaker (and acclaimed novelist) Victor Pelevin tells interviewer Leo Kropywiansky, “Thoughts are justified in two cases: when they swiftly make us rich and when they fascinate us with their beauty.”
With humanitarian rather than political aims, Mohsen Makhmalbaf’s Kandahar (2001) was intended to focus on the plight of women in Afghanistan under an oppressive regime. Then came September 11th, and Afghanistan was thrown into the spotlight.
Every guitarist—Marc Ribot notwithstanding—who has ever heard the legendary Bill Frisell play, has wondered how he manages to produce notes that swell in volumes as they sustain, instead of steadily fading as they do on everyone else’s guitar.
Considering architect Steven Holl’s many renowned works, his national and international reputation have clearly been confirmed. Art critic Joseph Masheck and Holl discuss analog, metaphor, and Malevich.
Shirley Kaneda and Saul Ostrow on the “haunting, poetic, and compellingly beautiful” mixed media constructions of Ivelisse Jiménez.
Stuart Horodner on the stunningly detailed works of sculptor Jim Hodges and his adherence to the “art of dedication.”
Judith Linhares reflects on Laura Newman’s geometric yet organically inspired paintings.
Jeremy Gilbert-Rolfe on the formalism and politics Liz Larner’s colorful, postmodern sculptures.
This First Proof contains the prose poem “At the Moment of Destruction, You Stop to Examine the Wreckage.” For copyright reasons this content is available in print only.
This First Proof contains the story “Goodbye, Oscar.” For copyright reasons this content is available in print only.
This First Proof contains an excerpt from On Lips of Water by Alberto Ruy Sánchez. For copyright reasons, this content is available in print only.
This First Proof contains the story “Of Two Minds.” For copyright reasons this content is available only in print.
This First Proof contains the poems “Anniversary Poem,” “Demeter” and “Demeter as Prometheus.” For copyright reasons this content is available in print only.
This First Proof contains the poems “Quo Journal: The Eponym Imperfect,” “Quo Journal: Spirit Rapping,” and “Quo Journal: Miss Texas.” For copyright reasons this content is available in print only.
This First Proof contains the prose poems “The Lemming Parade,” “Blue” and “Crossing the Equator.” For copyright reasons this content is available in print only.
This First Proof contains the poems “After Oslo” and “Shopping for Volcanic Bread at the Greenmarket.” For copyright reasons this content is available in print only.
This First Proof contains the story “Where the F Stops.” For copyright reasons this content is available in print only.
