BOMB 119/Spring 2012
Violence and whimsy, satire and surrealism coexist in vibrant color on Dana Schutz’s large canvases. A new show of her work is on through December 18 at Neuberger Museum of Art in Purchase, New York.
Artist Harrell Fletcher has taken it upon himself to turn the spotlight onto others. With astounding generosity and a dedicated, empathetic intelligence, Fletcher surprises our expectations of what art and the figure of the artist can be.
Dean’s “FILM,” at the Tate Modern, is garnering a lot of attention. The Berlin-based artist got some attention from novelist Eugenides—whose The Marriage Plot is out now—for BOMB in 2006.
Bernard Henri-Lévy’s new book Public Enemies, is an epistolary exchange with experimental novelist Michel Houellebecq. His 2006 conversation with novelist Frederic Tuten delves into Lévy’s own passionate journey.
A national treasure, Paula Fox’s novels were rediscovered by Jonathan Franzen in the mid-’90s. Brought back into print, Desperate Characters, The Widow’s Children and Poor George rank among the best of American literature.
Israeli filmmaker Judd Ne’eman has unflinchingly analyzed the collective distress of Jews and Arabs since the ‘70s. Scholar Janet Burstein caught up with Ne’eman to discuss his dedication to his land and its peoples.
Antony and the Johnsons thrilled the music world with their debut album, I Am a Bird Now (2005), but Antony’s work has been confounding the establishment ever since he arrived in New York in 1990. He met filmmaker Charles Atlas soon after.
Adam Rapp’s new work Hallway trilogy runs now through the 27th at the Rattlestick Playwrights Theater. In this BOMB 95 interview Marsha Norman probes the underbelly of American life where Rapp’s moody plays take place.
James Casebere on the mesmerizing, indefinable anatomical forms found in the drawings and paintings of Brian Wood.
Amanda Means on how Corban Walker’s intricate prints celebrate both the human mind and the technique of the machine.
David Salle on how Kate Manheim’s work as an actor informs the creation of her rich, kaleidoscopic abstracts.
Keith Mayerson on how Randy Wray’s paintings and sculptures channel a Southern gothic sensibility though 21st Century surrealist technique. Mayerson is currently showing work at Derek Eller Gallery.
This First Proof contains an excerpt from the novel Birds in Fall. For copyright reasons this content is available in print only.
Editor-in-chief Betsy Sussler highlights new short story collections from Deborah Eisenberg and Amy Hempel, as well as a novel, This Book Will Save Your Life, from A.M. Homes.
This First Proof contains the poems “The Wait,” “Bar,” “He,” “Mixed Media,” and “Amazon Show,” translated by James Kimbrell and Rebecca Morgan. For copyright reasons this content is available in print only.
This First Proof contains an excerpt from Our Lives Are the Rivers. For copyright reasons this content is available in print only.
This First Proof contains the story Saving Mom. For copyright reasons this content is available in print only.
This First Proof contains Sensini, an excerpt from Last Evenings on Earth & Other Stories translated by Chris Andrews. For copyright reasons this content is available in print only.
This First Proof the story contains The Good Darkey. For copyright reasons this content is available in print only.
This First Proof contains the poems “The Drowning,” “Lying in Bed Naked, with Venetian Streaks of Moonlight,” and “The Maiden of the Tree.” For copyright reasons this content is available in print only.
This First Proof contains the poems “The Future of Terror,” “Terror of the Future,” and “The Golden Age of Figureheads.” For copyright reasons this content is available in print only.
This First Proof contains the stories Your Man and The Night the Buses Died. For copyright reasons this content is available in print only.
James Welling on the photographs of Louise Lawler and how photography is “a medium without grammar.”
