BOMB 111/Spring 2010
ON NEWSSTANDS NOW
ON NEWSSTANDS NOW
The Frances Dittmer Series on Contemporary Art. Poet Anne Waldman continues the New York School tradition, revealing the content in the act of painting in her talk with Pat Steir. Steir describes her painting method as controlled chaos.
In his trademark loops of found footage, typically presented on tiny digital screens that project out from the wall on steel arms, Paul Pfeiffer explores intertwined issues of races, religion and the history of art.
Tom Sachs has polarized critics since he made his first rifle out of a spring loaded sledgehammer. His peculiar brand of bricolage addresses complex issues including appropriation, consumerism, entertainment and functionality.
Marie Ponsot’s first book of poems, True Minds, was published as part of the legendary City Lights poetry series in 1957. Despite her association with the Beat poets, Ponsot’s strongly individualist voice and construction of verse defy categorization.
Steven Millhauser’s first book, Edwin Mullhouse, set the literary world ablaze with admiration, instantly placing him in the most revered of pantheons, that of the writer’s writer. Nine books later his magical illuminations still captivate the reader.
Since her groundbreaking debut album Bitter, bass player and songwriter Meshell Ndegeocello has been cultivating a unique blend of jazz, funk, hip-hop and R&B. Her latest, Cookie, an Anthropological Mixtape, earned her a seventh Grammy nomination.
Playwright David Greenspan is a veteran of the downtown New York theater scene. Known as much for his masterful performances onstage as for his sharp, complex and darkly funny plays, Greenspan has concentrated on acting for the past several years.
Prolific playwright and film director Neil LaBute has a reputation for freezing his characters in moral headlights, exposing their initial reactions to turmoil or devastation and unapologetically documenting the aftermath.
Shirley Kaneda and Saul Ostrow on how Diana Cooper’s eccentric mixed media installations and sculptures attempt to “balance order and pandemonium.” This article is only available in print.
Dannielle Tegeder on how Doug Aitken’s video projection installations conjure spellbinding sensations of emptiness and vastness. This article is only available in print.
Thomas Nozkowski on how Richard Rezac’s sculptures manage to balance eccentricity and concept with accessibility and familiarity. This article is only available in print.
Dike Blair on how the psychedelic, cerebral, tentacular forms in Steve DiBenedetto’s paintings obscure the fact that he “like[s] to put in too many skies.”
This First Proof contains the story “Bride of Angels.” For copyright reasons this content is available in print only.
This First Proof contains the poems “A Thousand Groans,” “The Easiest Way of Having,” “Baby Flourishes,” and “The Fatal Stick-in-Waiting.” For copyright reasons this content is available in print only.
This First Proof contains the story “Seymour Rising.” For copyright reasons this content is available in print only.
This First Proof contains the story “The Middle of the Night.” For copyright reasons this content is available in print only.
This First Proof contains the story “The Tears of Cortés.” For copyright reasons this content is available in print only.
This First Proof contains the poems “Beyond the Beautiful House,” and “Two Evenings—with wildlife and bombs.” For copyright reasons this content is available in print only.
This First Proof contains the story “What You Eat.” For copyright reasons this content is available in print only.