BOMB 113/Fall 2010
From his investigation of maritime space to his extensive travels to world seaports, Allan Sekula’s trajectory transforms and connects domains that aren’t usually compared. His practice has extended from photography into filmmaking and recently, curating.
In conversation, Tuymans and Marshall—collaborating on an animation project scheduled to be completed in late 2007—alternately agree and disagree on the function of an artwork, its meaning and imperfection, and the frozen world within the painting.
From Adorno to Darger, from the Bible to Sade, from Beckett to hiphop: in his drawings and video projections, Paul Chan stakes out the space between opposites as a field of promise.
“I start with an uneasiness. Somewhere a pattern’s undersung.” Thus is Heather McHugh inspired to one of her witty, contradictory, perspicacious, sometimes bawdy, always sense-soaked poems. She’s also just won a McArthur grant.
Poet Susan Wheeler will be reading at the Poetry Society on 10/6. Read this 2005 interview with Robert Polito.
Well known in the art world for her distinctive videos and performance pieces, Miranda July is quickly expanding her audience. Writer Rachel Kushner examines the lineage of common themes and recurrent imagery in July’s body of work.
Artist William Wegman has been an early music aficionado since he was a graduate student in the mid-’60s. when he met George Steel, the Miller Theatre’s impresario who started the encyclopedic Composer Portrait Series, they had plenty to discuss.
Tony Conrad has a suite of yellow films at the Venice Biennale.
Edge Theater Company produces unequivocally complex new American plays that bring a provocative mix of dark humor and ardent wit to bear in their exploration of life’s messy contingencies. Carolyn Cantor directed their latest, Orange Flower Water.
Don Shillingburg on Beth’s Campbell’s room-sized installations involving talking, mass-produced household objects.
Laurie Simmons on the fun, worldly sculptures of John Newman.
Saul Ostrow on conceptual artist Paul Ramirez Jonas’ optimistic quest for inventiveness and adventure.
Nancy Barton on how Sue de Beer’s video installation Black Sun explores death and effectively and empathetically channels the teenage experience.
This First Proof contains the poem “Money and God.” For copyright reasons this content is available in print only.
This First Proof contains an excerpt from the play Nine Come. For copyright reasons this content is available in print only.
This First Proof contains the short story “Slamgram.” For copyright reasons this content is available in print only.
This First Proof contains the story “The Horse Thieves of Rockaway Beach.” For copyright reasons this content is available in print only.
This First Proof contains the short story “The Proposal.” For copyright reasons this content is available in print only.
This First Proof contains the poems “Christmas Season 2004,” “Is mullein like ivy?” and “Riffing off Billie Holiday—Saturday, the Clouds are dark again.” For copyright reasons this content is available in print only.
This First Proof contains the poems “Accessories” and “Dodo’s Caca.” For copyright reasons this content is available in print only.
This First Proof contains the short stories “Spokane,” and “She’s Not Here.” For copyright reasons this content is available in print only.
This First Proof contains an excerpts from Waters of Forgetfulness. For copyright reasons this content is available in print only.
