BOMB 118/Winter 2012
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 new work is at Sperone Westwater through December 17.
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.
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.”
Dannielle Tegeder on how Doug Aitken’s video projection installations conjure spellbinding sensations of emptiness and vastness.
Thomas Nozkowski on how Richard Rezac’s sculptures manage to balance eccentricity and concept with accessibility and familiarity.
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.”
Pat Steir, in a 2003 conversation with poet Anne Waldman, describes her painting method as controlled chaos. Steir’s show “Winter Paintings” opened February 17th at Cheim & Reid in Manhattan.
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.
