Director Roland Joffé discusses the films The Killing Fields and The Mission; growing up in post-war London; and transitioning from theater to television to film.
The late Gretchen Bender created “high tech” art when “high tech” was still an accepted turn of phrase. Here, she talks to Cindy Sherman about the appropriation and manipulation of TV commercials, images from the news, and contemporary art.
Famed writer, editor, filmmaker, and publisher Charles Henri Ford speaks of his early years in Paris, his theory of collage, and how he came to obtain a nude photograph of Robert Mapplethorpe and Patti Smith.
This interview is featured, along with thirty-four others, in our anthology BOMB: The Author Interviews.
Calcutta is a dead weight on my heart: / I must destroy her before I go.
Juking on the road with Bill, hitting / every shack bar we defied our mamas, / set no time to be back home, let sex / crawl up our legs like spiders.
To the consciousness of a shooting star
A certain orchard on a hillside far
Here’s a place I don’t go anymore.
And then Gregory said that Gloria, who really was just a kid, inexperienced, not at all sophisticated in affairs of the heart, had left the apartment on Clinton Street just before Christmas, a few days after you met me in the bookstore,
I don’t know if he is still needed / Or not / But he is coming back,
My birth was at the bottom rung of the Western Ghats
at a distance of three rolls only from the boiling
Your passport was something you needed to get on the airplane in the first place.
Two works by Dona Nelson—Winter in the Park, gesso and charcoal on canvas, 1986 and Clock in the Rain, oil on canvas, 1986.
Two bronze sculptures, titled Madame as Recamier and Untitled; and acrylic painting on canvas, titled Flood of Values, by Gary Stephan.
Two untitled watercolor paintings with graphite on paper, Untitled, by Stephen Ellis.
Enamel on chrome coat paper works by Izhar Patkin—Virtue and Village from The Black Paintings and Night at the Balagany.
Portfolio of drawings by emerging and established contemporary artists curated by Roberto Juarez.
Stomach from Possession is Nine Tenths of the Law, a 1985 portfolio of color monoprints, by Kiki Smith.
Drawing by Roberto Juarez for the Selected Similarities portfolio.
Two ink on paper works, titled The Loss of a Planet and Untitled, by Lucio Pozzi.
Oil on masonite painting, titled Saning Sari, by Marilyn Lerner.
Two photographs by Annette Lemieux—Courting Death, sepia print; and Class of ’39 ciba print.
Oil on canvas painting, titled Monday Morning Early, by Peter Nadin.
Two works by Saint Claire Cemin—Bell, bronze, 1986 and Logasimuli, ink, 1986.
Drawing by Robert Gober from the Selected Similarities portfolio.
Stomach from Possession is Nine Tenths of the Law, a 1985 portfolio of color monoprints, by Kiki Smith.
Drawing by James Wright for the Selected Similarities portfolio.
Drawing by Daniel Mahoney for the Selected Similarities portfolio.
Drawing by Brice Marden from the Selected Similarities portfolio.
Drawing by Robert Smithson from the Selected Similarities portfolio.
Drawing by Rhonda Wall from the Selected Similarities portfolio.
Drawing by Alice Neel from the Selected Similarities portfolio.
Drawing by Curtis Lee Fairley from the Selected Similarities portfolio.
