BOMB 53 Fall 1995
Midnight—the perfect time to segue from good and evil to The Addiction and back. Abel Ferrara talks about his film while juggling the chaos of pre-production for his following release, The Funeral.
Mac Wellman has written forty plays in twenty years. He speaks with Linda Yablonsky about his past work (“Bad Penny was the best thing I ever did”) and his adaptation of Ovid’s Metamorphosis, set in Florida.
Todd Haynes, the director of Safe, first met Kelly Reichardt during the making of his film Poison. They take five to compare notes upon the release of Reichardt’s first feature film, River of Grass.
The inimitable bell hooks talks to director Wayne Wang about the beauty of the ordinary, re-appropriation and collaboration in his pair of films, Blue in the Face and Smoke.
Francine Prose, author of the novel Hunters and Gatherers, delves into realism and the real act of painting time with figurative painter Catherine Murphy.
Jo Baer is the featured artist at The Artist’s Institute, where her abstract minimalism is paired with the spastic eroticism of Anne-Mie Van Kerckhoven through May 22nd. Baer spoke to Linda Boersma in BOMB in Fall 1995.
Earthquake! June Jordan, the award-winning author of 21 books, tells Josh Kuhn about her operatic collaborations and her libretto for I Was Looking at the Ceiling and Then I Saw the Sky.
Novelist Carole Maso unearths the darkness in the dizzying poems of Lucie Brock-Broido, collected in her 1995 book, a seven year project inspired by Emily Dickinson’s Master Letters.
His wife had ice cream cone breasts and was given to fits of crying which she did alone and in the shower.
EXT. NIGHT. THE STREETS OF TORONTO.
This First Proof contains an untitled ink and watercolor drawing, from Pierced Hearts and True Love: A Century of Drawings for Tattoos At the Drawing Center.
We have walked the pilgrimage well beyond
the wall’s shock of cinders, to where the paths
DAVE: You’re fuckin’ up, man.
Always they ask of him: When did you begin?
In her photographic work, Judy Linn records the ineffable.
The house where William was raised was built of rough white stone and set on 1,400 acres of dried grass and cracked earth marked off from the surrounding wilderness by split-rail fences and rock walls that stretched beyond the visible horizon in any three directions.
Again the cab slips west down 14th almost
To the river—
Parades have complex social and psychological agendas and the same can be said for their participants.