BOMB 60, Summer 1997

The cover of BOMB 60

Jane Dickson, Judy Davis, Alfred Uhry by Paul Rudd, Barry Le Va, Lydia Davis, Peter Greenaway, Roger Guenveur Smith, John Lee Anderson, and David Del Tredici.

Two Drawings

Untitled ink drawings by poet Mark Strand. This article is only available in print.

The Collector Collector by Tibor Fischer

by Jenifer Berman

The world of Tibor Fischer’s The Collector Collector is composed of a sex-addicted kleptomaniac, a 300-pound angel, a relationship columnist held hostage, and, most distinctively, a bowl that quips, “We’re all trying to find the unfindable.”

Reverend Ethan Acres

by David Pagel

The descendent of a snake-handling mystic and an itinerant minister with prosthetic arms, Reverend Acres makes use of his unusual heritage by creating pieces such as a trailer home-turned-highway chapel.

Tina Barney

by Marvin Heiferman

Tina Barney has stripped down her staged photographs to focus on the nude, producing small and aesthetically rigorous prints of her models posed in their own homes.

Peter Boynton

by Saul Ostrow

Peter Boynton’s sculptures challenge the reign of Duchamp’s readymades by hybridizing High Modernist product design and pop culture references.

Jim Butler

by Shirley Kaneda

Jim Butler’s paintings begin as still lifes of common objects but become complex and haunting artworks that explore how an object is transformed by an artist’s viewpoint.

The Wooster Group

by Mark Magill

Directed by Elizabeth LeCompte and starring Willem Dafoe, the Wooster Group takes on Eugene O’Neill’s The Hairy Ape with their usual transformative approach to a classical text.

Royal Trux

by Tod Wizon

The band Royal Trux experiments with 1960s musical influences and Burroughs-like humor in songs such as “Hallucination” and “Sweet Sixteen.”

Judy Davis

by Liza Béar

The consummate actress, Judy Davis talks about her starring role in the epic satire, Children of the Revolution.

Jane Dickson

by Sylvère Lotringer

Dickson’s paintings documented the isolation and the life of Times Square pre-vamp. She and Sylvère Lotringer discuss the suburbs, demolition derby and becoming American.

Peter Greenaway

by Lawrence Chua

The architect of dreams, filmmaker Peter Greenaway describes his film, The Pillow Book, an ode to Sei Shonagon’s 10th century vernacular sex diary and CD-roms.

Jon Lee Anderson

by David L. Ulin

Che Guevara: celebrated warrior, revolutionary leader, figure of myth. In his biography of the Argentine-turned-Cuban hero, John Lee Anderson goes behind the scenes to unearth the man. This article is part of the Bohen Series on Critical Discourse.

The title of Lydia Davis’ story collection, Almost No Memory, belies the author’s capacity for nuance and detail. Fellow writer Francine Prose discusses the sensuality of structure and the perfection of shape.

Barry Le Va

by Saul Ostrow

Barry Le Va has been making situational sculptures since the late ’60s. He and his cohorts, Bruce Nauman, Gordon Matta Clark and Carl Andre, helped reinvent what sculpture could become. Le Va and Saul Ostrow unearth the past and overturn the present.

This First Proof contains the poems “Miscellaneous Costs,” “Taxes,” “Grocery Money,” and “Exact Change.”

Icing

by Mimi Thompson

Three photographs, one a video still, two of laminated cibachrome mounted on plexiglass, Icing, Head 2, and Head 8 by Jeanne Dunning, with by text from Mimi Thompson.

Alfred Uhry

by Paul Rudd

Uhry’s first play, Driving Miss Daisy, won a Pulitzer Prize. His Obie-nominated play, The Last Night of Ballyhoo, is a poignant and hilarious encounter with an Atlanta family of German-Jewish descent just before the outbreak of WWII.

Roger Guenveur Smith’s new play, Juan and John, is up at the Public now. In this ’97 interview, Coco Fusco probes the man and his narrative, a complex and riveting portrayal of a ’60s icon, and a fast-fire delivery.

BOMB 60
Summer 1997
The cover of BOMB 60