BOMB 52 Summer 1995
Vernon Reid talks to the genre-defying trio Medeski, Martin & Wood about the choices they make in their music.
Don’t miss Helen Mirren in The Debt or issue 52 of BOMB. So take a flashback just like they do in the film, but to 1992, and check out Helen Mirren’s conversation with fellow actor Peter Eyre.
Independent filmmakers Alison Maclean (Crush) and Todd Haynes (Poison) talk about genre busting in Haynes’s feature film Safe, about a woman who turns to New Age cures for an environmental disease.
Coco Fusco looks into the theatrical value of Sacred Naked Nature Girls’ spontaneous, symbolic all nude show, and how it deals with issues of the body, gender and performance.
Sculptors Charles Ray and Paul Dickerson go beyond studio talk in a peripatetic stroll through museums, lunch at the Carlyle and a cab ride.
It was in 1981 and I was a sophomore in art school when I first encountered Chuck Close’s work at a show called Contemporary American Realism Since 1960. I was struck by how it didn’t resemble any of the other work in the show.
Jenifer Berman and poet Patricia Spears Jones (who was just awarded the Oscar Williams-Gene Derwood Award of the New York Community Trusttalk) about the various facets of Jones’s writing and her views on religion, race and privacy.
Russell Banks reveals the dark side of the American spirit in his novel, Rule of the Bone, with Pinckney Benedict, winner of the John Steinbeck Award for Dogs of God.
“Fifty-four, fifty-five, fifty-six … .”
The smell of cut grass and a tint of blue from the moon across its razed surface made me think of blood.
This began when I wrote a story about a boy sitting in a tree, smoking a cigarette.
Walking out of the pharmacy
I felt the bones in my daughter’s hand,
From the street, only a wall is visible, flanked by anonymous windows and a large wooden door. We press the doorbell and a young boy answers. We explain that Mother Delecta is waiting for us to assist the seven o’clock mass today—All Souls Day.