BOMB 28 Summer 1989

028 Summer 1989
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Roni Horn by Mimi Thompson
Roni Horn 1992 Peter Bellamy Small

“I see these objects that I produce as existing in a very impure world, fraught with entropy and dirt.”

Isabel Toledo by Elizabeth Cannon
Toledo01 Body

“My clothes are like anybody else’s. If you’re confident, if you know what you’re about, nothing falls wrong—you always look great.”

Craig Lucas by Billy Hopkins
Lucas 01 Body

“I found it extraordinarily enlightening, and I’m not as afraid of death. I’m fascinated by death. It’s an equal part of our life; it’s the other end—cover on the book.”

Guy Gallo by Betsy Sussler
Gallo 01 Body

“Some writers are definitely from a particular place. Others reside most comfortably in their language.”

Gary Indiana by Max Blagg
Gary Indiana

“People will always recognize themselves, no matter what you write. You could write a complete fantasy and people would think you were writing about them. It’s always the case. I’m not too concerned about that, unless somebody sues me.”

John Ford Noonan by Stuart Spencer
Noonan01 Body

“You can’t be great when you value greatness, when greatness, rather than the fulfillment of your talent, is your aspiration.”

David Kapp by Georgia Marsh
Kapp 02 Body

“If somebody does a portrait, how do you get the aura or the feeling of the face? You don’t do every eyelash, right? That kind of attention to detail doesn’t really do it.”

Mary Ellen Mark by Allen Frame
Mark 01 Body

“I don’t like to think of myself as a photojournalist. I’m a documentary photographer. I photograph reality.”

Richard Edson by Lynn Geller
Edson1 Body

“I’ve finally gotten to the point where I’m consciously unselfconscious, which is where you want to be. Once you get there, as an actor, you’re right no matter what you do, because you’ve got the character inside of you.”

Roland Legiardi-Laura by Bob Holman
Legiardi 01 Body

“Poetry is a part of daily life there. The life of a soldier, a policeman, a pilot, a farmer, a banker.”

Bobbie Ann Mason by Craig Gholson
Mason01 Body

“People are dealing with their relationships in the face of the phenomenal swirl of change going on in this world. And it’s what we’re all doing, all of the world. And it’s very confusing and scary and hard for the center to hold, and hard to know where you belong and what’s going to last.”

Patrick McGrath by Bradford Morrow
Macgrath 01 Body

“When I started writing I ran through the genres. I never wrote autobiographically. First of all I wrote detective stories. After that I wrote a science fiction novel. Then, finally, a Gothic novel, and felt at once at home.”

First Proof
Kunyenyeza Ezikhotheni (Voices In The Wilderness) by Duma Ndloru

Kunyenyeza Ezikhotheni
(Voices in The Wilderness)

Three Poems by Frank M. Chipasula

A Poem For Martyrs’ Day

The first vowel of pain

Between Planes by Jon Robin Baitz
Marilyn Lerner

For Alter, the funeral had been tranquil almost to the point of vacuousness. 

Two Poems by Keith Adams

I sing songs to homelands / to foreign airs / and watch the eyes / that never settle

A Dedication for H. J. B. by Amelia Blossomhouse

as purple shades
usher in the night

Another Winter by Klaus Kertess

Daily the city became more difficult to imagine. 

Sidewinder by Liza Béar


Life is full of strange turns. 

Her Story With Mine by David Means

We were out in the blue air and it was very late for me, later than I’d ever been up at the lake.

Three Poems by Rashidah Ismaili


They came—the Strange Ones in the night.

Four Poems by Waithira Mbuthia (Karanja)


Missiles fly wild

Sculptured Activites by Barry Le Va
Barry Le Va, Sculptured Activities, 1988–89, ink and spray paint, cut and glued to ink on paper, 66 × 60 inches. Courtesy of Sonnabend and David Nolan Galleries, New York.

A painting of ink and spray paint, cut and glued to ink on paper, titled Sculptured Activites, by American sculptor Barry Le Va.

Two Photographs by Elliott Schwartz
Elliot Schwartz, No Room for Squares, 1988.

Two photographs, No Room For Squares and I Feel the Goodness Going Out of Me, by Elliott Schwartz.

Two Sculptures by Heide Fasnacht
 Heide Fasnacht, Scientific American, (work in progress) 43 × 140 × 140 inches. Photograph by Lisa Kahane. Inset: Heide Fasnacht, Two Views, Reel, 1988, wood, paint 31 × 45 × 37 inches. Courtesy of Germans Van Eck.

Two sculptures, titled Scientific America, and Reel, by Berlin Artist Heide Fasnacht, photographs by Lisa Kahane.

Page of Signs by ​Marilyn Lerner
Marilyn Lerner

A painting of oil pastel on paper, titled Page of Signs, by Marilyn Lerner.

Two Works by Mia Westerlund Roosen
Mia Westerlund Roosen, Installation view, January, 1989. Inset: Mia Westerlund Roosen, Mountain Series III, charcoal, pastel & oil stick on paper, work in three parts: 30 × 22 inches each. Courtesy of Christine Burgin Gallery and Leo Castelli.

Installation view and Mountain Series III drawing, by Mia Westerlund Roosen.

Blackbird Bye Bye by April Bernard
Barry Le Va, Sculptured Activities, 1988–89, ink and spray paint, cut and glued to ink on paper, 66 × 60 inches. Courtesy of Sonnabend and David Nolan Galleries, New York.

A poem, titled “Blackbird Bye Bye,” by April Bernard.

Two Installations by Richard Nonas
Richard Nonas, Dniee, 1988, steel, 24 × 15 × 2 feet. ACE Contemporary Exhibition, Los Angeles. Inset: Lucifer Landing (Real Snake in Imaginary Garden), 1989, rock, 135 × 354 feet. Cranbrook Academy of Art, Michigan.

Two installations, Dniee and Lucifer Landing (Reel Snake In Imaginary Garden), by Richard Nonas.