BOMB 43 Spring 1993
“It’s been a very, very strange time. I feel very lost and confused and sort of unclear about what I should be doing with the play, where I should be going with it and where I should be going after the play is done.”
“Awkward moments and mutual hostility” abound in this conversation with artist and provocateur Andres Serrano on his most recent collection of photographs of dead bodies.
The painter/writer Mira Schor addresses feminist issues, articulating the question of identity.
Ousmane Sembene, the Senegalese writer and director of Black Girl, Ceddo, and Camp de Thiaroye is the point by which African cinema sets its compass.
“I hear this all the time in places like New York. People say, ‘Yes, I’m an artist but I don’t have that much time anymore because I’m also a psychologist, and a novelist, and a yoga teacher.’ To that I say, ‘Actually, all you are is a fucked up, displaced human being.’” Srinivas Krishna
Every morning at 8:45, one of my clocks plays the Meistersinger Prelude theme on a set of silver chimes, and I wake up.
ON THESE DAYS DRIVING
Perfection is all those horrible old love affairs
Bell was fighting a sex hangover as he fixed a fried egg sandwich.
Ruel is crying.
He has decided to fall in love.
Painting on canvas of an invented torture device, Dave 1984-1990 (Headcrusher) by Kathe Burkhart.
Duraflex photograph Olive Oil Swami by Keith Boadwee.
Piece utilizing burns from a bomb fuse, as well as enamel and resin, on aluminum, Black-Eyed Sue by LC Armstrong.
Oil painting on linen of a woman in a dress; The Web by Catherine Howe.
Colored pencil on rag drawing, Delta 5 by Charles Long.
A drawing (Portrait of Bill) and a photogram (Analgesic, Sugar and Saccharin #3) by Fred Tomaselli.
Abstract painting on paper, Poppie’s by Jimmie Durham, selected by Bill Arning and Paul Ramirez-Jonas. This article is only available in print.