BOMB 53 Fall 1995

Issue 53 053  Fall 1995
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Abel Ferrara by Liza Béar
Ferrara 01 Body

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 by Linda Yablonsky
Wellman 02 Body

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.

Kelly Reichardt by Todd Haynes
Reichardt 01

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.

Wayne Wang by bell hooks
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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.

Catherine Murphy by Francine Prose
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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 by Linda Boersma
Baer 02 Body

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.

June Jordan by Josh Kuhn
June Jordan 01 Bomb 053 Sm

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.

Lucie Brock-Broido by Carole Maso
Brock Broido 01 Body

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.

Roy Hargrove by Zoë Anglesey
Hargrove 01 Body

Roy Hargrove’s Quintet with the Tenors of Our Time hit the top of the charts. Zoë Anglesey catches the soon to be legend between tours to find out more about his new albums, FamilyParker’s Mood (the great Bird’s) and the business of jazz.

First Proof
Over and Out by Alan Scarritt
Scarritt Alan 01  Bomb 053
Use Me by Elissa Schappell

His wife had ice cream cone breasts and was given to fits of crying which she did alone and in the shower. 

Thirty-Two Short Films about Glenn Gould by Don McKellar & François Girard


Film #2


Untitled by George Burchett

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

Two Poems by James Ragan
​Jeannette Montgomery Barron 01

We have walked the pilgrimage well beyond
the wall’s shock of cinders, to where the paths

Two Photographs by Jeannette Montgomery Barron
​Jeannette Montgomery Barron 01
Raised by Wolves: Photographs and Documents of Runaways by Jim Goldberg
Jim Goldberg 01

DAVE: You’re fuckin’ up, man. 

The Affliction by Joyce Carol Oates

Always they ask of him: When did you begin? 

Judy Linn by Hilton Als
Judy Linn 01

In her photographic work, Judy Linn records the ineffable.

Walking on Air by R.S. Jones

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. 

Overheard in the Love Hotel by Robert Polito

Again the cab slips west down 14th almost
To the river—

Document from Bigot Hall by Steve Aylett
Jeannette Montgomery Barron 02

Chairman Mao said “My enemy’s enemy is my friend.” 

Artists on Artists
Elliott Green by Saul Ostrow
Elliott Green 01

Parades have complex social and psychological agendas and the same can be said for their participants.

Ena Swansea
Swansea 01

One stands in front of these paintings and faces a construction which is subjective and made-up. Ena Swansea has revised the priorities of an abstract painter and has decided to paint what is not there. 

Letter from the Editor by Betsy Sussler
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