BOMB 27 Spring 1989

027 Spring 1989
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Abbijane by Jeremy Gilbert-Rolfe
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“There’s nothing more annoying than walking down the street and seeing 4,000 guys with fucking baseball caps on. What do they hide their eyes for? If you look them straight in the eye, they turn their head.”

Salman Rushdie by Ameena Meer
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Despite death threats and religious edict, subversive novelist and essayist Salman Rushdie has won numerous awards and remains a prominent voice in global politics.

Penny Arcade by Allen Frame
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Channeling New York’s most notorious divas, Penny Arcade reveals the inspiration and connection she finds from her subjects.

Terry Kinney by Craig Gholson
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Terry Kinney, a founding member of the Steppenwolf Theatre Company, talks about his play, Brilliant Traces, and why he prefers acting over directing.

Michael Tetherow  by Ellen Phelan
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Painter Michael Tetherow discusses his view of the role of the abstract artist, the magical qualities he finds in certain aspects of nature, and the excitement of the “process of making.”

Carmelo Pomodoro by Elizabeth Cannon
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A fashion interview between designer Carmelo Pomodoro and Elizabeth Cannon.

Bill Barrette by Stephen Westfall
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What unites the work of Polly Apfelbaum, Bill Barrette, and Nancy Shaver is their incorporation of objects and images that have a history of prior use.

Nancy Shaver by Stephen Westfall
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“If it’s a painting done by someone else that I’m using, it’s important that it be looked at as a painting, and in terms of the person who did it, and their imagination.”

Alexander Kluge by Gary Indiana
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Filmmaker Alexander Kluge delves into the cultural significance of film and television with Gary Indiana in this 1989 conversation. A series of Kluge’s films is currently screening at Spectacle Theater in Brooklyn.

Polly Apfelbaum by Stephen Westfall
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“When objects dream, when we dream, things come together in strange ways, without surface logic.”

James Nares by Betsy Sussler
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In a process of material and poetic interrogation, James Nares shares his practice, a return to origins, with Betsy Sussler.

Dennis Cooper by Tim Guest
Bomb 27 Dennis Cooper

Cooper’s book length prose poem, Safe, was published in 1984, but the real celebration comes now, with the appearance of his first novel, Closer, just out from Grove Press.

Robert Greene by Klaus Kertess
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“My escape is to some kind of unexpected place that’s magic; and I think painting can make that magic place.”

First Proof
Five Poems by Michael O'Brien
Dona Nelson


Beneath its cusp

Holy Pictures: Poem for Robert Mapplethorpe by Paul Schmidt

1. Verdict

Stand and look up.

Violet Hair: A Heideggerian Tragedy by William T. Vollmann

Much of her life, Catherine had been reading, sometimes taking her book to visit me in Heaven where it is cold and foggy and she must lie on the couch wrapped in a thick Canadian-Indian sweater and a reindeer skin.

Wheel of Fortune by Cheri Fein

After dinner Louise watches Jeopardy, while Helen reads the Star

Excalibur by Dennis Potter
 Olivier Richon, Imprese, From Near and From Afar, 1988, C-print, 35 × 32 inches. Courtesy of Jack Shainman Gallery.

Uncountable miles from where any possible City of Gold might even now be sending out its fugitive gleams, but only two or three hundred yards from a tired church clock routinely bing-bonging the muffle of an advancing dusk, the self-dubbed Pilgrim and man-of-letters Sir Ronald Morston was engaged in what he called the refreshment of his soul. 

Virago by Lorena Cassady
Kenny Scharf

There is a certain dignity associated with giving birth.

Impresse by Olivier Richon
 Olivier Richon, Imprese, From Near and From Afar, 1988, C-print, 35 × 32 inches. Courtesy of Jack Shainman Gallery.

C-Print, titled Imprese, from the series From Near and From Afar by Olivier Richon. This article is only available in print.

Two Drawings by William T. Wiley
William T. Wiley, Charm Study, 1989, pencil and ink, 7 × 10 inches. Courtesy of Wanda Hansen.

Two pencil and ink and ink drawings, titled Charm Study and Angel Babies, by William T. Wiley.

Painting to Order by Lucio Pozzi
Lucio Pozzi, Painting to Order, 1987, advertisement, 15 × 21½ inches. © 1987 by Lucio Pozzi.

Instructions and agreement for an advertised painting to order by Lucio Pozzi.

Learning about Women by Kenny Scharf
Kenny Scharf

Learning about Women, by Kenny Scharf.

Mats Gustavson by David Seidner
 Mats Gustavson, Lacroix silhouette for Vogue Italia, 1988.

Profile and portfolio of Mats Gustavson by David Seidner.

Plethora by Joseph Nechvetal
Joseph Nechvatal, Plethora, 1988, acrylic on canvas, 90 × 138 inches. Courtesy of Brooke Alexander.

Acrylic painting on canvas, Plethora by Joseph Nechvetal.

Party on a Plain by Dona Nelson
Dona Nelson

Painting by Dona Nelson.

Notes From Marseilles by Elenor Trifon
Marseilles , 1900/1988, Frederic Paunarel.

Elenor Trifon gives a thorough account of her trip to Marseilles, augmenting her description of the weather patterns, cuisine, history, music, and art with whimsical details that bring her story to life.

Two Park Gates by R. M. Fischer
R. M. Fischer, East Meets West, Rector Gate, Battery Park City, 1985–89, stainless steel, bronze, granite, and electric lights. © 1988 by Chris Callis. Inset: MacArthur Park Gate, Los Angeles, 1985. © 1988 by Richard Ross

Rector Gate, Battery Park City, stainless steel, bronze, granite, and electric lights, 1985–89; Mac Arthur Park Gate, Los Angeles, steel, aluminum, brass, zinc, concrete, and electric lights, 1985.

Seated Figures and Two Poems by Jean-Michel Basquiat

Drawing, with text titled Seated Figures and Two Poems respectively, by Jean Michel Basquiat. This article is only available in print.

Two Works by Steve Keister
Steve Keister, Untitled, 1988, wood fiberglass, epoxy resin, epoxy paint, and rubber, 35½ × 37 × 12⅜ inches. Courtesy of Blum Helman.

Untitled sculpture and Cat Scan silkscreen and Xerox process print on Masa Japanese paper, edition of 25, by Steve Keister.

Untitled Furniture Sculpture by John Armleder
John Armleder, Untitled Furniture Sculpture, 1988. Courtesy of Jon Gibson Gallery.

Untitled Furniture Sculpture, by John Armleder, 1988.