Where on the spectrum of loyalty and betrayal does song begin? And where does it end? I think each writer has to decide this over and over.
—
Sharon Olds
The Seal of Life by Carl Apfelschnitt
- Autumn Melancholy by Janet Hamill
- Memory (One Kind of Time) by Kathy Acker
- Prelude to Delay the End by Liliana Ramos Collado
- Four Poems by Mutabaruka
- Four Poems by Nancy Morejón
- Murder in the Bog: A Mungo Stank Story by Patrick McGrath
- There is a Country in the World by Pedro Mir
- Three Poems by Janet Hamill
- Robber by Andrew Beddoe
- même le soleil est nu by Anthony Phelps
- Memories of the Chalkstone Years by Dawad Philip
- A Glimpse of Robert Musil by Edouard Roditi
- The Cross by Felix Morrisseau LeRoy
- Five Poems by Georges Castera
First Proof
- Meat Show by Robert Delford Brown
- Meditations on the Red Mass by Ann McCoy
- Bird in Hand by Mark DeMuro
- Self-Portrait by Maurice Grosser
- Young Christ Jesus by David Walter McDermott & Mssrs. McDermott
- Flora by Ophrah Shemesh
- Black Slipping by Peter Blake
- Two Drawings by Roberto Juarez
- Two Photographs by Sarah Charlesworth
- Untitled Drawing by Stephen Hale
- Two Photographs by Susan Unterberg
- Knowledge from the Foreign Fields by Carl Apfelschnitt
- Theatrical by David Walter McDermott & Peter McGough
- The Nostalgia of the Infinite by Giorgio de Chirico
- The Rose Tower by Giorgio de Chirico
- Head of Apollo by Unknown Artists
- Ornament by Suzanne Joelson
- Sacre Coeur for Proinsias Stagg by Ann McCoy
- Torso of an Ephebos
- Two Photographs by Tom Drahos
- Blood of a Poet Box by Eleanor Antin
- Portrait of Maurice Grosser by Virgil Thomson
- The Seal of Life by Carl Apfelschnitt
- Heads by Yves Oppenheim
- Two Drawings by Dan Asher
- Two Drawings by Francesco Clemente
- Two Paintings by George Condo
- Two Photographs by Kate Simon
More
Carl Apfelschnitt, The Seal of Life, 1985, handmade paper with pigment, 4 × 3 inches.
Related
Two cibachrome prints of religious figures, Buddha and Madonna by Sarah Charlesworth.
The 19th-century traditional skills of the “fine artist” and the nomadic intellect of the postmodern would seemingly be at odds with one another, as if object and subject were intent on maintaining total disregard or being completely dissolved by each other. Such a paradox is at the core of Roland Flexner’s work.
Truly a cyber-era artist, Monique Prieto’s bold, colorful abstract paintings are composed on the computer. Their emotive quality relies on the traditional triangle of the eye-hand-brain. BOMB contributing editor David Pagel finds out how it all connects.
Originally published in
BOMB 14,
Winter 1986
Roy Lichtenstein, Jackie Winsor, art by Sarah Charlesworth, Francesco Clemente, and more.
