BOMB 80, Summer 2002

The cover of BOMB 80

John Zorn by Michael Goldberg, Petah Coyne by Lynne Tillman, Donald Marguiles, Michael Haneke, Reynolds Price, Ben van Berkel, Glen Seator, and Dubravka Ugrešić.

Glen Seator

by Anthony Vidler

Glen Seator’s sculptures have been called “desiring-machines”; they are replicated exterior and interior spaces, fragments or full rooms, skewed or not, all of which have a history: social, political and poetic.

Jonathan Coe’s polyphonous novel The Rotter’s Club retells the story of pre-Thatcherite England, a time when one might hope that “the Irish question will be over in two years,” through the lives of four schoolboys.

This First Proof contains the poems “Revolution’s the Thing” and “Password for a Hybrid Century.”

Petah Coyne

by Lynne Tillman

The Frances Dittmer Series on Contemporary Art. Petah Coyne constructs waxen sculptures that hang like chandeliers from ceilings and walls. Her photographs of brides emote a kind of decadence that comes from wisdom, not youth.

Melissa Gould

by Thomas Bolt

Melissa Gould’s ongoing installation From Adler to Zylber uses iconographic artwork and the alphabet to organize a haunting pictorial catalogue of Jews sent to Auschwitz on Convoy No. 42.

Bruce Conner

by Walter Hopps

Walter Hopps on the provocative, often rock ’n‘ roll inspired works of mischief-minded filmmaker, photographer and artist Bruce Conner.

Dannielle Tegeder

by David Hunt

Dannielle Tegeder’s mixed media canvases in the exhibition Love, Lust and Other Mechanical Systems remind reviewer David Hunt of post-9/11 military groupings, “pods” and “clusters” that suggest speed and mobility.

Michael Haneke

by Lawrence Chua

Austrian film director Michael Haneke likes to describe his films as disturbing; what he disturbs: the viewer's tendency towards a rote emotional response.

Dubravka Ugrešić

by Svetlana Boym

Former Yugoslavian Dubravka Ugrešić is a writer known for experimenting with artistic forms, creating “patchwork fictions” in which references to Gogol and Nabokov are interwoven with recipes, quotes from women’s magazine and children’s books.

Claudia Acuña

by Zoë Anglesey

Claudia Acuña’s album Rhythm of Life is reminiscent of her performances at Manhattan jazz clubs, combining Chilean music with jazz standards and Acuña’s original compositions.

Reynolds Price

by Caleb Smith

The fiction of Reynolds Price has always been nourished rather than cowed or oppressed by the oldest narrative traditions from the gospels on down. BOMB is proud to have published this Summer 2002 interview with one of America’s most revered writers.

John Zorn

by Michael Goldberg

Composer and saxophonist John Zorn is known for his ability to mix musical genres in a repertoire that includes jazz ensembles, symphony orchestras, rock bands and film scores. It’s held together with a gift for collaboration, a passion for progression.

Donald Margulies

by Romulus Linney

Award-winning playwrights Romulus Linney and Donald Margulies delighted in trading stories about pitfalls, paths avoided and paths followed. Margulies’s Time Stands Still is up now at the Samuel J. Friedman Theater.

Ben van Berkel

by Gabriella de Ferrari

UN Studio has designed train stations, bridges, private residences and museums with a fluid and inconclusive process that strives for universal consciousness. Ben van Berkel started the practice, along with his wife, Caroline Bos.

This First Proof contains the poems “Crossroads Blues: Duet with Robert Johnson #4,” “Little Boy Blue: Duet with Robert Johnson #18,” and “Rambling on My Mind: Duet with Robert Johnson #33.”

Summer 2002
The cover of BOMB 80