This First Proof contains the story “Dog Tags.”
John Zorn by Michael Goldberg, Petah Coyne by Lynne Tillman, Donald Marguiles, Michael Haneke, Reynolds Price, Ben van Berkel, Glen Seator, and Dubravka Ugrešić.
This First Proof contains the story “Dog Tags.”
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.
The short stories and eponymous novella in Diane Williams’s collection Romancer Erector work through defamiliarization, engaging by alienating the reader from everything from spinach to narrative structure.
Spirit + Flesh, a collection of Fakir Musafar’s self-portraits, document the extremes to which Musafar subjects his own body, from compression to piercing.
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.
This First Proof contains the poems “Revolution’s the Thing” and “Password for a Hybrid Century.”
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 story “Beauty and the Beast.”
Walter Hopps on the provocative, often rock ’n‘ roll inspired works of mischief-minded filmmaker, photographer and artist Bruce Conner.
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.
Dennis Cooper’s dialogue-based My Loose Thread evokes the tragedy of Columbine and stuns reviewer Benjamin Weissman.
This First Proof contains three poems by Virgil Suárez.
Phillip Lopate on Burhan Dogançay’s prolific and often overlooked career as “Turkey’s greatest living artist.”
After 20 years of capturing the particular light of the Lower East Side with oil paints and canvas, Mark Tambella receives a solo showing at La MaMa La Galleria.
This First Proof contains the poems “Green in Green” and “Dusk.”
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.
Rob Wynne on the intimate, refined works of versatile artist James Brown.
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.
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.
Austrian film director Michael Haneke likes to describe his films as disturbing; what he disturbs: the viewer's tendency towards a rote emotional response.
As its album cover proclaims, Rembetika is the music of “passion, drugs, jail, disease, death,” Greece’s own subculture rebellion that reminds reviewer David Krasnow of ’60s and ’70s American punk.
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.
Contributing editor Coco Fusco’s second essay collection, The Bodies That Were Not Ours, demonstrates Fusco’s passion as an interviewer and interrogator of postcolonial legacies.
The chapter titles of activist and artist DeeDee Halleck’s guide to cheap, collaborative media speak for themselves, advising readers on “Community Control of Technology” and “Experimental Video and Public Television.”
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.
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.
This First Proof contains the story “Remedy.”
This First Proof contains the poems “Smoke” and “Fences.”
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.”
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.