BOMB 2 Winter 1982
The Secret Agent is a feature length documentary investigating the effects and implications of the use of the chemical defoliant Agent Orange used in Vietnam between the years 1964 and 1971.
Sonia Delaunay took an early, perhaps the earliest jump into non-objectivity where color elicited form. Her work serves swift proof of a tenacious intensity with which she threw herself into her art, her life.
Jean Maurice Isn’t Home Yet is a 45 minute 16mm black and white film written and directed by Phillipe Demontaut with Beth Lewis and Phillipe Demontaut as M. and Mme. Robinet and the voices of Annette Messager and Christian Boltanski.
Lindzee Smith in conversation with directors Tim Burns and Jim Jarmusch. They discuss their works Against the Grain and Permanent Vacation as well as inspiration, influence, and creative exile.
ABC No Rio speaks to Shelley Leavitt on their renegade approach to curating and what it was like to start a gallery/social center in the ’80s Lower East Side.
In conversation, filmmakers Bette Gordon and Karyn Kay pinpoint women’s desire and experience in and out of film.
A lively conversation over tea between Charles Ludlam, the Artistic Director of the Ridiculous Theatrical Company, and Christopher Scott, the Executive Director of the Company, conducted by Ted Castle.
Gary Indiana’s Horse Crazy is a raucous and hilarious whirlwind of obsession; with writing, love, delusion and, in the end, with surviving.
In 1835 the New York Sun achieved the greatest circulation of any newspaper in the world––the surge in readership being directly attributable to the story of the century, the existence of intelligent extra-terrestial life.
There is a tree out there. A tree in front of my window. When I walk around the corner, back to my house, there are bums on the street.
The streets began to steam in late June but it was another two weeks before the hot air reached inside. One morning, another dead Sunday, I awoke early, not long after sunrise.
Why? There are many reasons, obvious and less obvious. The Metropolis may interest us as an object of touristic pleasure, an evanescent emotion because it is limited within time.
There has developed a distinct class of heroin addicts, with a certain amount of freemasonry and cooperation among themselves.
Writers of fragments will always be indebted to Friedrich Schlegel for affirming the practice.
1.1. Abstract: of murder. Every human act has a purpose.
The first foreign country I visited was Mexico. I knew enough Spanish to read a menu. But when I went to a restaurant and the waiter asked me what I wanted I realized I didn’t know how to order.
Walter Robinson rounds-up his findings in a piece titled “Art at Auction.”
(Rainer broods over his rejection by Anne and blames it on the vulgarity of those with whom he and she associate, that is, petty crooks, prostitutes, et al.)
A film about a film star. Frances Farmer, relegated for thirty years to the garbage can, now being resurrected as interesting.
As far as theatre goes I wasn’t born yet, at best I am in diapers.
Anyone can drive on the freeway––hesitating, resisting, losing the rhythm of the lane change––thinking about where they came from and where they are going.
Filmmaker Gordon Stevenson reflects on the death of Mirielle Cervenka, “a poet and a pagan,” and the uncanny similarities between Cervenka’s fate and that of her on-screen character in his film Ecstatic Stigmatic.
A portfolio of four works by David Deutsch: Bicycle, Piano, Hand; Untitled; Untitled; and Reclining Man with Movie Camera.
Three views of a sculpture by Jackie Winsor titled The Marriage of Magic & Madness.
As an artist concerned with architectural questions, I have made regional planning maps for most of the world which organize terrain according to hydrological drainage––not into rivers only but into saltwater bodies, including the salt lakes, seas and bays of the world.