Discover MFA Programs in Art and Writing
BOMB 60 Summer 1997
Uhry’s first play, Driving Miss Daisy, won a Pulitzer Prize. His Obie-nominated play, The Last Night of Ballyhoo, is a poignant and hilarious encounter with an Atlanta family of German-Jewish descent just before the outbreak of WWII.
Barry Le Va has been making situational sculptures since the late ’60s. He and his cohorts, Bruce Nauman, Gordon Matta Clark and Carl Andre, helped reinvent what sculpture could become. Le Va and Saul Ostrow unearth the past and overturn the present.
Dickson’s paintings documented the isolation and the life of Times Square pre-vamp. She and Sylvère Lotringer discuss the suburbs, demolition derby and becoming American.
Che Guevara: celebrated warrior, revolutionary leader, figure of myth. In his biography of the Argentine-turned-Cuban hero, John Lee Anderson goes behind the scenes to unearth the man. This article is part of the Bohen Series on Critical Discourse.
The consummate actress, Judy Davis talks about her starring role in the epic satire, Children of the Revolution.
The title of Lydia Davis’ story collection, Almost No Memory, belies the author’s capacity for nuance and detail. Fellow writer Francine Prose discusses the sensuality of structure and the perfection of shape.
The architect of dreams, filmmaker Peter Greenaway describes his film, The Pillow Book, an ode to Sei Shonagon’s 10th century vernacular sex diary and CD-roms.
Roger Guenveur Smith’s new play, Juan and John, is up at the Public now. In this ’97 interview, Coco Fusco probes the man and his narrative, a complex and riveting portrayal of a ’60s icon, and a fast-fire delivery.
I dream / I am the only / passenger / on flight 423 / to Srinagar,
This First Proof contains an excerpt from the novel Already Dead.
This First Proof contains the story “A Man of Small Volume” from Stories on Volume.
Seth blames his adventures later that night on the speed hit JD gave him in the car, but in reality he drank much more than he realized (he confesses as much) at Teddy Wade’s party,
So it is true that nothing
Jeanne Dunning creates work brimming with a macabre stylishness.
We were cheap-ass perverts, Beezer and me.
How I longed to linger on that north shore beach and look through the seaweed for iridescent
“I Too Am …”
I dream of my house on the Gianicolo
near Villa Pamphili,
A beautiful, heartrending, and superbly written autobiographical first novel — and how many are not — which has been eagerly awaited for many years.
It’s a truly unexpected pleasure to find a first-rate writer explicating a subject that is not only sprawlingly large but exceptionally clouded by obfuscation, emotionalism, and political pieties.
Good old-time religion and edgy, contemporary art make for odd bedfellows, but this unholy alliance thrives in the art and life of Reverend Ethan Acres.
Browsing through her diaries in preparation for a retrospective monograph to be published by Scalo books, Tina Barney realized she’d been contemplating photographing nudes since the 1980s
The triumphant return of Duchamp’s “readymade” in the 1960s and its acceptance as a form of art making in the 1980s, is thought of as marking the final phase in the conceptualization of art
Jim Butler’s recent paintings bring to the tradition of “realism” a concern for the act of perception.
It is a strange fact of nature that the most violent forms of weather—hurricanes and tornadoes—have at their heart a calm, still center. That center is only evident because of the contrasting fury that surrounds it. Otherwise, it’s just another pleasant, sunny day.
My sister, a therapist, gave me a psychological test. It addressed modes of thinking. All seemed normal except for one area. Apparently logic has a very tenuous position in my brain, often rousted by intuition to wander aimlessly through a universe of subjectivity.
Royal Trux’s scuzzy biker image belies a music of great complexity, nuance, and imagination. With a wash of organ here, and a little wah wah there, Royal Trux turn their devoted eyes towards the music of the ’60s, which they charmingly evoke rather than recreate.
A storytelling bowl with the selective ability to change size and shape, to grow eight feet high, to repair itself when shattered, to save its unlucky possessor from harm’s way.
The Stories (So Far) of Deborah Eisenberg collects her first two books; All Around Atlantis is new.
There is a lushness to Kertess’s prose, a soft belly that belies its toughness.
This is Colm Tóibín’s third novel, and a very fine piece of work it is too.
The man teaches by example. His essays are beautiful. They are what they attempt to understand: meticulous making of meaning by reinventing our ordinary language.
In his latest novel, The Nature of Blood, this liturgical form is used to such startling effect that it is impossible to read it without calling out yourself.