Erin Parish by Donna Tartt

Part of the Editor's Choice series.

BOMB 56 Summer 1996
Issue 56 056  Summer 1996

Discover MFA Programs in Art and Writing

Erin Parish

Erin Parish, Tapping for Maple Syrup, 1996, oil on resin, 7¾ × 5½ × ¾ inches.

Erin Parish, daughter of artists Tom and Susan Parish, made her first oil painting when she was five (of a still-legged scarecrow with her skull instead of a pumpkin for a head, beneath a furious sun, feet planted firmly on the ground). Now, in her late twenties, her painting still trembles with menace and the ferocity of inner solitudes: empty halls, the partial glimpse of a drunkard’s slouched shoulder seen beneath the blaze of an electric bulb; a German funerary angel numbed with snow and post-war twilight, or an Ophelia delirious in weed-tangled silence. In her new paintings (included in Waterline at Black and Herron Gallery this past May), her figurative sensibility dissolves into abstraction and the open plains of dream—as relentless as the still line on a flat heart monitor—or sinks into abstraction and golden light. The result is a hypnotic pull in two very different directions, and into abandon on a more profound level. Here, the unmoored mind reeling from excess diffuses into blurred vision: the drunkard’s loss of consciousness, the swimmer’s last gasp of oxygen, the lights of the delivery room or the deathbed.

—Donna Tartt

Charline Von Heyl by Shirley Kaneda
Charline Von Heyl 1
Reconfigured Bodies: Annette Wehrhahn Interviewed by Fabienne Lasserre
An abstract painting of red and yellow splotches and tassels around the edges titled, Bust, by Annette Wehrhahn

Paintings that address life’s messiness.

Sitting with Discomfort: Christina Quarles Interviewed by Jareh Das
A colorful swirl of female bodies in a mix of figuration and abstraction titled,  For a Flaw / For a Fall / For the End, Christina Quarles

Paintings and installations that unfix the body.

Mel Kendrick by Kiki Smith
Woodblock Carving Studio Image

Kendrick owns five chainsaws and calls his radical sculptural interventions a form of “anti-carpentry,” but he’s ultimately invested in revealing and repairing forms, thereby discovering new dimensions of wholeness.

Originally published in

BOMB 56, Summer 1996

Featuring interviews with 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.

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Issue 56 056  Summer 1996