Discover MFA Programs in Art and Writing

BOMB 47 Spring 1994

047 Spring 1994
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Interviews

Djur Djura by David Byrne

“I work on my music like a painter with a palette of colors which is the reflection of my emotions. Each album is a different color.”

Gregory Crane by Simon Lane
Crane 01 Body

“Given the time we’re living in it is useless to paint the landscape simply for its beauty or to delight in its pastoral order. It’s really more in flux than anything else, more of a focus for emotion, expression, experience, and memory.”

Lili Taylor by Nicole Burdette
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“A very wise person called it, ‘the abandonment of art to the chaos of commerce,’fr and that is what’s going on.”

Paul Beatty by Christian Haye
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“They saw that poetry had something to add to the world, but they also feel that they’re owed.”
 Paul Beatty

Double Portrait of the Artist: A Conversation With Edmund White by Alain Kirili
White 01 Body

Having just completed a biography of Jean Genet, Edmund White discusses jazz, sculpture, and “the art of the flaneur” with abstract sculptor Alain Kirili over dinner in Paris.

Richard Foreman by Eric Bogosian
Article 1768  Forman 01

“I am personally happiest when I am forced to solve a problem. The aggression onstage has to do with that.”

Word Into Image by Marjorie Welish
Barry 01 Body

“I don’t believe in progress in art. Prehistoric art can’t be beat! Sophistication isn’t progress. It’s just that now there’s a realization and an analysis on our part.”

Suzan-Lori Parks by Han Ong
Parks 02 Body

“I’ve said I write plays because I love black people. I just figured it out fairly recently. Not that I had any other reason before that, but I realized why I want black people on stage—because I love them. And it probably sounds very vague, but it’s true.” Suzan Lori Parks

Saint Clair Cemin by Shirley Kaneda
Cemin 01 Body

“It’s impossible to create more than what you are. You can only unveil more of yourself.”

Pedro Almodóvar by Ela Troyano
Almodovar 03 Body

“My films are very Spanish, but on the other hand they are capriciously personal. You cannot measure Spain by my films.”

First Proof

Footnotes by Klaus Kertess

1) Pindar, 12th Pythian Ode (ca 490 BC). The specific flute Athena is credited with inventing, here, is called the Phrygian flute; it is a double flute thought to have been formed by her out of stag’s bones or horns.

Almenrausch by Vivian Heller

If only he could stop and rest, at least long enough to catch his breath! 

Three Poems by Sophie Cabot Black

Nowhere to go but home. The subway crawls

Box Turtle by Mark Solomon

Stubborn pugnacious lump of thunder

The Track of Real Desires by Beverly Lowry

Leland looked out the kitchen window. 

In Love With Me by Padgett Powell

You have a central pluck and resilience which is good but is made more interesting by a slight wounded edge—like a shirred oyster.

More
Untitled Drawing by Christian Schumann
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Untitled Drawing (for BOMB magazine) by Eva Lundsager
47 Lundsager Body
Untitled by Glenn Ligon
47 Ligon 01 Body
Sign Language by Jane Kaplowitz
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Wild Girls in BOMB (none are dead, just knocked out) by Kim Dingle
47 Dingle Body
Untitled Drawings by Roland Flexner
47 Flexner 01 Body
Dedication to Stanley Moss by Betsy Sussler