BOMB 56, Summer 1996

The cover of BOMB 56

Martha Plimpton, Irvine Welsh, Jeffrey Vallance, Nick Pappas, Mark Eitzel, Lee Breuer, Ornette Coleman, Cheick Oumar Sissoko, Janwillem van de Wetering, and Ada Gay Griffin & Michelle Parkerson on Audre Lorde.

Toby Parker, co-founder of Naked Angels and cast member in Rent, is growing into a bold, confident, and risk-taking actor with skills that span a wide range of roles.

Monique Prieto

by David Pagel

In Monique Prieto’s color-filled abstract canvases, David Pagel discovers the thriving artistic offspring of Morris Louis and Andy Warhol with paintings that successfully reference, exploit, and expose their artistic heritage.


by Susan Shacter

Stage and screen actors Ashley Judd, Billy Crudup, Kristin Scott Thomas, and Scarlett Johannson, among many others, catch the eye of Susan Shacter.

Beth Nugent

by Patrick McGrath

The novel Live Girls, by Beth Nugent, finds complexity and humor in the story of a teenage ticket-seller at a rural porn theater.

Mervyn Taylor

by Kelvin Christopher James

Mervyn Taylor’s poetry collection An Island of His Own is filled with poems that draw startling metaphors from everyday activities, evoking both Taylor’s Trinidadian homeland and his contemporary life in New York City.

Mark Tambella

by Roberto Juarez

“Art is bullshit, theater is real,” proclaims stage artist Mark Tambella, whose own artwork, painted with brooms and constructed of throwaway objects, you’ll have to go to a live performance, not a gallery, to see.

Graham Swift

by Betsy Sussler

Graham Swift’s novel Last Orders comes to terms with the lives of his working class characters through witty language that captures the tenor of life and loss on the London outskirts.

Irvine Welsh

by Jenifer Berman

Irvine Welsh has been coined as the acid house badboy of Scotland. He also happens to write like a sonovabitch, a term he’d appreciate. Writer Jenifer Berman and Welsh discuss class allegiance, class betrayal, and “trainspotting” among the muckers.

Janwillem van de Wetering

by Stanley Moss

After an eight year hiatus, the Zen Amsterdam cop returns in van de Wetering’s The Hollow-Eyed Angel. Painter and writer Stanley Moss talks to the former monk/patrolman about the unconventional crime and the unconventional solution.

Art in Public Space

Art in Public Space contains work by David Hammons, Jenny Holzer, Daniel Martinez, Mierle Laderman Ukeles, Corky Lee, Peggy Diggs, Christian Boltanski, Agencia de Viaje, Felix Gonzales Torres, Vito Acconci, Marsland-Ovalle, and Jeff Koons.

Nick Pappas

by Katy Martin

Philosopher Nick Pappas and painter Katy Martin, who has currently entered the foray of film, discuss Plato’s challenge to poetry and examine conceptions of the idiosyncratic and the subjective.

With Mark Eitzel at the helm, American Music Club garnered praise and a devoted following. Songwriter Michael Kroll talks with him upon the release of his album 60 Watt Silver Lining, about eavesdropping, lyrics and the importance of cerebrity focus.

Linda Hill

by Anney Bonney

“I don’t need a waterfall behind me to make you feel wet,” claims writer/performer Linda Hill, who deftly and daringly takes on the roles of six different women in a benefit performance of her piece The Dinner Party at The Kitchen.

Howard Shore

by Amos Poe

Amos Poe finds anti-auteur Howard Shore preferring silence as his life’s only soundtrack but fills the sound designs of critically acclaimed movies with accompaniment that spans a broad musical palette.

Helena Kriel

by Roland Legiardi-Laura

Helena Kriel, unencumbered by assumptions that South African writers must directly address the the issue of racial oppression, instead examines the universal conflict between men and women in films such as Kama Sutra and Scheherazade.

Jeffrey Vallance

by David Pagel

Jeffrey Vallance’s art has infiltrated the Vatican, the Debbie Reynolds Museum, the Liberace Museum and a Nautical Museum not far from the Arctic Circle. Writer David Pagel quizzes Vallance on the sacred and the profane.

Tone Dialing

by Ornette Coleman

From Tone Dialing and our master of the saxophone: “To know or knowing to think doesn’t mean you know. Going and getting back to where you came from is like going again. Nature has no nature.”

Cheick Oumar Sissoko

by Manon Slome

Cheick Oumar Sissoko makes African films for an African audience. Manon Slome and he discuss what this means: the difficulties, the differences and the ingenious determination with which a culture renews itself.

Lee Breuer

by Michael Goldberg

What does illusion, Kafka, Gospel music, Bunraku puppets, Sophocles, the Baroque and a dog named Rose have in common? Lee Breuer. One of our most gifted theatrical directors talks with painter Michael Goldberg.

James Nares

by Glenn O'Brien

Painter James Nares transfers the improvisational skills of a jazz musician to the canvas by drawing upon Japanese painting techniques to create pieces that reviewer Glenn O’Brien finds profound and crucially beautiful.

Martha Plimpton

by Frank Pugliese

Playwright and screenwriter Frank Pugliese and actress Martha Plimpton get real about what it means to make work, get work and keep on living in New York, L.A. and the theater world.

Ralph Hamilton

by Robert Polito

Robert Polito on Ralph Hamilton’s large-scale painted portraits that stretch and distort the flickering style of a cinematic close-up in the series Portrait Faces and Families/Couples.

Steven Parrino

by Olivier Mosset

Steven Parrino responds to and questions artistic pluralism by crumpling, duct taping, and tossing his canvases into massive exhibits such as Blob Fuckhead Bubblegum, reviewed here by Olivier Mosset.

Mauro Restiffe

by Allen Frame

Brazilian photographer Mauro Restiffe, showcased in the 1996 Moscow International Festival of Photography, impresses reviewer Allen Frame with photographs that display surprising levels of restlessness, exhilaration, and complexity.

Jim Shepard

by Amy Hempel

Batting Against Castro, Jim Shepard’s first short story collection, lends originality, humor, and cinematic scope to situations as diverse as a pre-revolutionary Cuban baseball game and a post-apocalyptic road trip.

Ben Kinmont

by Bill Arning

Ben Kinmont’s breakfast-based artwork, Waffles, and uncatalogued archive boxes prompt reviewer Bill Arning to consider how social sculpture manifests itself in the world outside the museum.

Erin Parish

by Donna Tartt

Erin Parish’s oil paintings, such as the 1996 piece Tapping for Maple Syrup, display a level of abstraction in her work that suggest a movement toward dissipation and abandon.

Per Maning

by Marvin Heiferman

Per Maning’s animal photographs—featuring subjects that range from a Labrador Retriever to a herd of pastured cattle to a group of seals in a Danish aquarium—find personality and variety, not victimization, in their captive subjects.

Summer 1996
The cover of BOMB 56