BOMB 63, Spring 1998

The cover of BOMB 63

Martin McDonagh, Steve Earle, Mona Hatoum, Victor Garber & Alfred Molina with Mark Magill, Maureen Howard, Jim Lewis & Dale Peck, Gillian Wearing, and John Sayles.

James Sheehan

by Thomas Bolt

James Sheehan’s first solo exhibition scales down the too-big to the too-small, depicting major events on a marginal scale.

Arne Svenson's Prisoners

by Suzan Sherman

In Arne Svenson’s Prisoners, Svenson adopts “orphaned” photographs—mug shot negatives—giving new life to the unusual work of family portrait photographer Clara S. Smith.

Elliott Green

by David Schulz

Psychic activity erupts in Elliott Green’s paintings in the form of raw, unignorable, grotesquely caricatured characters.

Rose Nolan

by Jeremy Gilbert-Rolfe

Rose Nolan’s art—Cyrillic banners and Tatlinish cardboard and tape creations—recalls Constructivism and demonstrates the importance of placelessness in a global culture.

Bonnie Collura

by Jenifer Berman

Bonnie Collura’s sculptures—made of foam, plaster, putty, and new spins on old iconography—are so tempting you want to touch them.

Amistad: The Opera

by Rone Shavers

Amistad, an opera commissioned by Philadelphia and Chicago, is not merely a musical remake of the film but a complex and conundrum-filled version of a tragic event.

Steve Earle

by David Gates

Steve Earle’s get-down, down-home sounds cross the line from Rock to Country, and his album Washington Square Serenade, snagged a Grammy in 2008. In this 1998 interview, David Gates finds a man as complex and concise as his music.

Novelists Jim Lewis (Why the Tree Loves the Ax) and Dale Peck (Now It’s Time to Say Goodbye) are good friends and great writers, who agree on next to nothing. Which is why this conversation reads like a comedy in a combat zone.

Gillian Wearing

by Grady T. Turner

Influenced by fly-on-the-wall documentaries of the '70s, Turner Prize-winning artist Gilliam Wearing has turned the form on its ear: recording her subjects' confessions, then re-pairing sound and image, mixing the voices of adults, children and relatives.

Victor Garber and Alfred Molina

by Mark Magill

Who has a better sense of irony and humor, English or American actors? Victor Garber and Alfred Molina give us an inside view of Yasmina Reza’s play Art and compare notes on how two guys from either side of the Atlantic pursue art in the theater.

John Sayles

by David L. Ulin

Shot on location in Mexico in Spanish and a variety of Indian dialects, John Sayles’s film Hombres Armados (Men with Guns) is in many ways a truly foreign film. David L. Ulin talks with Sayles about how the film reflects the cultures it portrays.

Mona Hatoum

by Janine Antoni

Equally mysterious as it is confrontational, Mona Hatoum’s art reads far beyond the realm of identity politics. Fellow artist Janine Antoni debunks those who see only its politics and explores the complexities of both Hatoum’s work and her background.

Martin McDonagh

by Fintan O'Toole

Martin McDonagh’s plays (and films) are Irish tales filled with violence, humor and magic. His new film 7 Psychopaths is in theaters now.

Drawing from the bric-à-brac of history, in this case anecdotes and paradoxes from the likes of Benjamin Franklin, William James, and Gertrude Stein, novelist Maureen Howard plays with, and reinvents, the novel as form.

Sarah Sze

by Judith Hudson

This First Proof contains two mixed media studio installations, Untitled and Ripe Fruit Falling (South) by Sarah Sze. Featuring a written reflection by Judy Hudson.

BOMB 63
Spring 1998
The cover of BOMB 63