Discover MFA Programs in Art and Writing

BOMB 30 Winter 1990

030 Winter 1989 90
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Interviews
Katell le Bourhis by Elizabeth Cannon
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 Her style is a hybrid of classic French chic and witty flamboyance. She’s a woman’s woman—passionate and self-invented.

Sylvia Heisel by Jeremy Gilbert-Rolfe
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“People’s bodies haven’t changed but women’s clothes especially can completely distort.” Sylvia Heisel

Mary Gaitskill by Stephen Westfall
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“I think what a masochist wants is deep intimacy and closeness, and they don’t know how to experience it except as an act of violation. They don’t have a concept of two people just, you know, touching together.”

Atom Egoyan with Arsinée Khanjian by Liza Béar
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“My biggest fear when I’m making a film is whether or not that contrivance calls attention to itself and distances you from the suspension of disbelief.”

Anish Kapoor by Ameena Meer
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Anish Kapoor and Ameena Meer discuss sex and death, subjectivity, and colors. Kapoor’s new work is on view now at Gladstone Gallery.

Jane Campion by Lynn Geller
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“Sentimentality is so powerful and dangerous because it touches peoples emotions without any reason, without any consciousness.”

Richard Price by Amos Poe
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“You have to get under the skin of a character so much more profoundly, to write about it as opposed to filming it.”

Eduardo Machado by Stuart Spencer
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“Not any one play is precious. You do the best you can in each situation as it comes to you. No writer is made of one play. If they are, they’re not very good writers.”

Carroll Dunham by Betsy Sussler
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“That’s why coming back to dreams, I know what people mean when they say that but dreams are not abstract. In my dreams I use images from the world to make stories. I don’t think of my work in terms of storytelling. Perhaps as instantaneous potential for a story, you could look at one of my paints and say, something’s happening. But not in the sense of a plot line.”

Marlane Meyer by Lance Loud
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“I may write plays now so that they’re really open on some level, but I’d like to see if there’s a more visual level, rather than just the inherent truth of the language that I’ve always gone for. I want to find a sort of visual shorthand. I’m just beginning to play with that now.”

Jonathan Lasker by Shirley Kaneda
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“I work out of good faith. I don’t think one operates out of a sense of doom. I think one operates out of a sense of hope. Even if that hope becomes frustrated. It’s the only way to do anything.”

Sarah Charlesworth by Betsy Sussler
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“Making an art work involves the transformation of matter, paper and materials into a process of animation or psychic elevation of material stuff.”

Fay Weldon by Craig Gholson
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“I would say that Americans don’t need a literature of the macabre because they’re so busy enacting it within their society.”

First Proof
Max’s Notebook by Guy Gallo

Accidental Rain

There was a brief moment once, as we reached the apex of the Manhattan Bridge, when the setting sun pierced the thin opening between rain clouds and horizon, casting the Westward side of Wall Street into a sudden blood orange glow, while the Eastern edges were all still and grey and pounded by black rain.

Boulevard Solitude by John Ash

1. “As I am not the first to observe,”

Thirty Messages by Lance Olsen

I. The One You Weren’t Waiting For

Hi Gilby. I have seen the face of God.

There’s No Knowing by Michael O'Keefe

After walking through a dark place that reflected neither sight nor sound I turned onto a country road and felt the soft reassurance of ice patches half melted and giving way underneath the weight of each step I took. 

Two Poems by Michael O'Keefe

Your thumb hooked me going down Robertson.

Peaceable Household by Amirh Bahati

Mamie Dalton-Montgomery

Snow threatens. For weeks now. 

Metes and Bounds by Elisabeth Cunnick
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Mid Century

The sisters had long ago been given that inefficacious space offered to the limited and circumscribed, who roam there freely in a twilight of swirling perfumed skirts, gazing at patterns of vines and gourds embroidered on bright specious heavens, naming constellations, sighing at the vague, whistling line of a meteor, really all the while tracing stitches on the backside of old brocade.

More
Six Photographs by Tina Barney
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Being caught by Tina Barney’s eye is to be familiar, to be loved, to be embraced and to be exposed; torn asunder. What is immutable speaks. It is impossible to be loved without being seen. Which is why most people step back when looking at her photographs.

Self-Portraits 1 and 1A by Claudia Hart
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Two black-and-white self-portraits by Claudia Hart, labeled “The Spirit of Humanism” and “The Spirit of Marxism.”