BOMB 36 Summer 1991

036 Summer 1991
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Interviews
Jane Alexander by Stuart Spencer
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Jane Alexander is one of those exceptional actresses who combine formidable inner strength with an almost porcelain fragility. Among her many projects of the last ten years there has been a small feature film, Testament, that “broke out” into mainstream recognition, and Eleanor and Franklin, a television film that rose above its own mainstream aspirations. 

John Leguizamo by Stanley Moss
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“Things are changing, and I think Hispanic people are making it change, and I’m going to do my best to make it change, you know? Not just sit back and wait for things to happen, ‘cause they’re not going to happen by themselves.”

Mary Shultz by Tod Wizon
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Mary Shultz’s usual reserve turns to fire when she reaches the stage. Recipient of both Obie and Bessie awards, she remains the secret weapon of downtown theater—without fail her appearances guarantee integrity, intensity, and charm. 

Alan Uglow by Alain Kirili
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Alan Uglow doesn’t neglect a single source of inspiration—from the noise of the street to the beauty of Italian luxury cars—his is a rigorous formal reflection with a subjectivity full of charm and tenderness. Alan’s paintings are beyond reductive commentary and that’s why, with him, it’s always best to stay alert.

James Merrill by Thomas Bolt
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James Merrill is one of America’s most distinguished poets. Critic Stephen Yenser has called Merrill’s epic poem The Changing Light at Sandover “a landmark in American literature.” Certainly it’s the only epic poem mostly dictated on a Ouija board to its two mediums, JM and DJ (Merrill and his co-adventurer David Jackson).

Chuck Connelly by Anney Bonney
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Anxious landscapes, aberrant allegories, perverse personifications: Chuck Connelly is Norman Rockwell on acid—a maverick narrative painter pushing the limits of myth into a modern malaise all his own. Connelly has worked with Martin Scorcese on New York Stories and is currently showing with Lennon Weinberg Gallery. I talked to Chuck in his paint-drenched studio on East Second Street, where he spoke with his usual fiery candor and irreverence.

Vito Acconci by Richard Prince
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Richard Prince and the legendary architect and installation artist Vito Acconci on everything from pornography to childhood memories to films that make him cry in this fast-paced, in-depth interview from 1991.

Amos Poe by Joel Rose
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Jill Eisenstadt by Ethan Silverman
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Ann Hui by Lawrence Chua
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“I don’t feel very much affected by it. Even before Boat People, I got offers to make movies from companies that import films to Taiwan. The companies said they could fix the import regulations. In any case, I could only make one film a year, so it didn’t matter. I’m not losing many offers.” Ann Hui

Mira Nair by Ameena Meer
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Joachim Ernst Berendt by Randall Morris
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John Wesley Harding by Andy Craft
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First Proof
The Almanac Branch by Bradford Morrow

They spoke in light, when they felt like speaking. They spoke only to her, they said.

In The Station by Deborah Eisenberg

Sounds stretch out in the station—footsteps, crackling announcements, rag ends of instructions and goodbyes echo and balloon, tangle in a mass that hangs high up under the sooty vaulting of transoms and girders. 

There’s Something Very Male About Me by Dodie Bellamy

September 10, 1990

Dear Bill:

The Day Will Come by Maggie Estep

Richard’s face twisted up and he screamed: “Violence is love and sex is death.”—which didn’t make sense to Elsie, but then, nothing he said ever did.

Teeth. by Max Blagg

I love the shiny, pristine teeth that most Americans keep behind their lips, pearly immaculate rows of ivory, often capped in precious metals, brilliant they seem and impervious to decay, and their children’s teeth, wrapped in steel for years so they too, will grow in straight and flawless. 

From Another Desert  by Agha Shahid Ali

Cries Majnoon:

Beloved you are not here

Till the Crows Turn White by Amy Gerstler

For some reason, he wrote to me frequently from Berlin. 

More
Untitled Drawing by Li Trincere
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Untitled black-and-white drawing, by Li Trincere. 

Project for Bomb Magazine by Pat Steir
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Photograph of a large, abstract oil on canvas painting, Project for Bomb Magazine by Pat Steir. 

Untitled Drawing by Richard Nabhan
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Untitled, abstract ink drawing by Richard Nabhan.

Two Paintings by George Mead Moore
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The Artist on Holiday by Geralyn Donohue
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Black-and-white photograph, The Artist on Holiday by Geralyn Donahue.

On Our Ten-Year Anniversary by Betsy Sussler
Three Pyramids by Jacki Ferrar
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Sketches for a sculpture by Jacki Ferrar.

Two Drawings by Jeanne Hedstrom
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Two untitled ink drawings by Jeanne Hedstrom.

Little Statuette by Kay Rosen
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Ink drawing, Little Statuette by Kay Rosen.