The Famous Weegee, self proclaimed perfectionist and maverick photojournalist, talks about humanizing a sad news story by photographing chaotic street scenes and taking portraits of grieving family.
Duane Michals moves beyond representation and reproduction in his photography, and instead “writes” with his art. Michal’s show The Painted Photograph opens March 21 at DC Moore Gallery.
Janet Hobhouse discusses her various books with Bruce Wolmer — November, Dancing in the Dark and Everybody Who Was Anybody: A Biography of Gertrude Stein—and the differences between “American” and “English” writing.
Willem Dafoe discusses the Wooster Group, Platoon, and the reasons he works in both theater and film.
Eddie Owens Martin led a bizarre life as an artist, hustler, fortune teller, architect, and religious visionary. His most remarkable artistic endeavor was re-inventing himself as St. EOM.
Artist and writer Aimee Rankin examines the confrontation with mortality that resides in Ross Bleckner’s work and the connection between paintings and trophies.
Authors Martin Amis and Patrick McGrath discuss Amis’s novel, Money, a black comedy set in New York and London, featuring the misadventures of a large and ugly filmmaker named John Self, a man “addicted to the 20th century.”
Famed writer, editor, filmmaker, and publisher Charles Henri Ford speaks of his early years in Paris, his theory of collage, and how he came to obtain a nude photograph of Robert Mapplethorpe and Patti Smith.
Director Roland Joffe discusses the films The Killing Fields and The Mission; growing up in post- war London; and transitioning from theater to television to film.
The late Gretchen Bender created “high tech” art when “high tech” was still an accepted turn of phrase. Here, she talks to Cindy Sherman about the appropriation and manipulation of TV commercials, images from the news, and contemporary art.
Notorious for his intensely personal monologues, much of Spalding Gray’s material was drawn directly from his personal life. He discusses how being “tattle-tale Gray” affected his career as he eats smoked scallops on the beach with Karry Kammer.
Dmitri Volchek interviews Rodion Zaveriyayev on the contributions of Russian conscience and culture on anti-theater. Translation by L. Terlitsky.
British novelist and short story writer Angela Carter talks to Rosemary Carroll about The Company of Wolves, Neil Jordan’s film adaptation of her short story.
Famed Abstract-Expressionist Joan Mitchell evades questions and ties the interview format into a knot, all the while offering hints at the unapologetic brilliance behind her craft.
Academy Award winner Linda Hunt speaks with Craig Gholson and Vincent Caristi about her roles in The Year of Living Dangerously, Silverado, and the Public Theater’s production of Wallace Shawn’s Aunt Dan and Lemon.
Sculptor and painter Alexander Liberman worked as Editorial Director of Condé Nast at a time when fashion magazines were more closely tied in with the art world than ever.
Ping Chong and Pablo Vela describe growing up as cultural outsiders “looking in” on America and how this perspective led them to directing and collaborating.
Waterland, first published In England in 1983, established Graham Swift as one of the more original, elegant, and imaginatively fertile of the younger English writers. Patrick McGrath talks to him about his work in a cold house off the Fulham Road.
Horton Foote, author of numerous stage, television and screenplays, has won Academy Awards for To Kill a Mockingbird and Tender Mercies. He speaks here with playwright Stuart Spencer.
Georgia Marsh and David Deutsch discuss obsession, planetariums, and the elusive relationship between interior and exterior spaces in his work.
April Bernard and Mimi Thompson speak with the legendary American painter on the eve of a Fall 1986 exhibition of his work, getting to the bottom of Lichtenstein’s brushstrokes and revealing his true feelings about comics.
Jackie Winsor talks to Craig Gholson about the influences of color on her sculptures and the discoveries she comes across through her work, as well as the dichotomous elemental impact of fire.
With the play Tracers, actors Richard Chaves, Vincent Caristi, and other Vietnam veterans use the theater as a mouth piece to play out their experiences of the war. Chaves and Caristi relate the realities of war and stage with Betsy Sussler.
David Salle and Georgia Marsh touch upon the lines drawn between pornography and eroticism, penetration and degradation, and the “tender gesture” of drawing.
From his home in Milan, Nobel Prize winner Dario Fo hosts Matthew Fleury and speaks of the challenges that a life of uncompromising activist playwriting have brought him and his wife, and oftentimes collaborator, Franca Rame.
Raymond Voinquel’s cinematic style pushed the envelope of fashion photography. Collaborating with writers and directors, he found a scale to match his vision of style on the big screen.
Fashion icon Lisa Fonssagrives-Penn discusses her long artistic career as a dancer, model, photographer, designer, and sculptor.
In this classic BOMB interview, Editor-in-Chief Betsy Sussler speaks to renowned artist Cindy Sherman about the role acting takes in her photographs. A career retrospective of Sherman’s work is on view now at MoMA.
Bruce Weber’s photographs of “beautiful” young people bring up questions of cruelty, exhibitionism and the exposure of sexuality. Rosemary Carroll explores how public response to Weber’s work affects his own perspective.
Writer, director, and filmmaker John Jesurun talks to Craig Gholson about making films without filming, and how to take pop lyrics seriously. His new show, Liz One, is up at The Chocolate Factory through 10/31.