BOMB 31 Spring 1990

031 Spring 1990
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Interviews
Larry Sultan by Catherine Liu
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“I think photographs take the richness of our temporality and reduce it.”

Lisa Hoke by Betsy Sussler
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A portfolio of Lisa Hoke by Betsy Sussler, concerning Hoke’s sculptures.

Jean-Paul Gaultier by David Seidner
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He is the consummate media junkie, overflowing with pop references, a veritable lexicon of trivia and kitsch.

Sally Beers by Elizabeth Cannon
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“I experiment a lot, it’s true. I like to try a lot of things, and repetition is not one of my favorites.”

Joyce Carol Oates by Stuart Spencer
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With five titles short-listed for National Book Awards, and the fiction prize for Them in 1970, Joyce Carol Oates has been one of the presiding voices of American literature for the past four decades.

Liza Béar by Robert Lang
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Liza Béar directed the film Force of Circumstance, a political drama set in the infamous city of Casablanca and Washington DC. Her body of work of short films consist of Oued Nefifik: A Foreign MovieLost Oasis, and Earthglow.

Tony Spiridakis by Amos Poe
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Nick Cave by Lindzee Smith
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Bleak balladeer Nick Cave discusses his foray into fiction writing with Lindzee Smith.

Véra Belmont by Kristen Bates
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“When you see a film, you can analyze the director. You know if they’re emphatic, energetic, sensitive or not, empty or full. Everything. To direct you are naked, absolutely.”

John Steppling by Allen Frame & Harvey Perr
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“I always said what distinguishes great writers is their infinite compassion.”

Leonard Shapiro by Allen Frame
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“People measure the success of theater by how completely they get off while they’re there. It’s like sex: if you don’t get off, then there was something incomplete about it.” Leonard Shapiro

Anton Furst by Lynn Geller
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From the fantastical Gotham City in Batman, to Vietnam War-scapes in England in Full Metal Jacket, Furst’s imagination and technical brilliance played an indispensable role in ushering in a new era of production design.

Christopher Brown by Thomas Bolt
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Christopher Brown pictures paint as a material and narrative vehicle. Thomas Bolt discusses this direct approach and its refreshing bluntness with the artist.

First Proof
Cop, Grandmaster, Ninja, Wacko by Amos Poe
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I. John the Cop.

“I don’t bullshit about what I did. 

A Childish and Surely Baseless Fear of Being Buried Alive by Joyce Carol Oates
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Untitled by Klaus Kertess

Maybe this time he would find it. Then he could be through.

Licking The Fun Up by Max Blagg

Advice from the good doctor on how to survive in this Babylon
this “garden of longing sown with the seeds of ruin”
this unrequited howling for more
more of everything, of anything …

Three Poems by A. C. Purcell

The mammal is mostly water. 

Four Poems by David Mamet

The Joke Code

You can take any of it

Delivery by Elizabeth McBride

When the UPS man climbed the steps, tapped on the door, propped his foot up on the teak threshold, I signed on line 39 although the package was crumpled, although I suspected the shells were cracked inside. 

Question and Answer by Gary Glickman

Quietly, I open the locks and come into his apartment; I have keys.

More
Installation by Mary Lucier

Several still images from video, titled Installation, by Mary Lucier. 

Three Works by Mel Kendrick
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Mel Kendrick’s wooden sculptures record the history of their own making. Wood has a history inherent in its markings. So too, his work scribbles the process of its being. Cuts are marks, and shapes are cut-out and glued (somewhere else) in a wildly primitive and aggressively peculiar physicality. “The whole process is constantly reinventing itself … a composite of awkward moments …” The awkward moment between indecision and acceptance becomes, in the end, simultaneously their history and their present, a riotous balancing act.

Wilderness by Mary Lucier
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Still images from Mary Lucier’s video installation Wilderness.