BOMB 61 Fall 1997

Bombcover 61 1024X1024
issues-c-f All Issues Buy Issue
Gregory Crewdson by Bradford Morrow
Gregory Crewdson 01 Bomb 061

Gregory Crewdson’s photographs of expansive dioramas recall Duchamp, Emerson, and the American suburbs. The documentary Gregory Crewdson: Brief Encounters is in limited release now.

Lorna Simpson by Coco Fusco
Bomb61 Lorna Simpson 01

Artist Lorna Simpson has turned from photography to film, creating three-dimensional installations on voyeurism, betrayal and desire. She has returned to photography for her show, Gathered, up at the Brooklyn Museum through Aug. 21.

Rupert Graves  by Nicole Burdette
Graves01 Body

English actor Rupert Graves appeared in five films in the fall of 1997: Intimate RelationsMrs. DallowayBentDifferent For Girls and The Revengers’ Comedies. American actress Nicole Burdette figures out how he got there.

Allan Gurganus by Donald Antrim
Gurganus 01 Body

Writers Allan Gurganus and Donald Antrim fax and phone this raucous conversation on sex, love and laughter during the AIDS epidemic, the subjects of Gurganus’s novel Plays Well with Others.

Louis Auchincloss  by David Carrier
Auchinclos 01 Body 1

Louis Auchincloss has chronicled the lives of America’s upper class for over fifty years. Critical, mannered and witty, he discusses his book, The Atonement and Other Stories, with philosopher David Carrier.

Marie Howe by Victoria Redel
Howe 01 Body

Marie Howe and I met to talk on a sweltering afternoon in a borrowed New York City apartment. I had sort of known Marie for years.

Rilla Askew by Betsy Sussler
Askew 01 Body

Rilla Askew’s first novel, The Mercy Seat, stems from her family’s stories of the migration west to Oklahoma. This novel tracks the legacy of that journey: the violence, the clash of native and European cultures and the pioneers.

Andrew Blanco by Louis Pérez
Blanco 01 Body

Out on the road, Los Lobos’s Louis Pérez and King Changó’s Andrew Blanco get down on ska, Godzilla and growing up Latino in the new America.

Paula Vogel by Mary Louise Parker
Vogel 01 Body

This year Paula Vogel amassed a small mountain of awards for her new play How I Learned to Drive, which premiered at the Vineyard Theatre, directed by Mark Brokaw. Like much of Paula’s work, it handles brutal themes in a seductive, almost musical way, winning the audience with truth and irreverent humor.

Artists on Artists
Walton Ford by Jeffrey Eugenides

When I met Walton Ford, in 1981, he was pretending to be a gorilla in the Bronx Zoo. It was his first exercise in Acting Class. 

First Proof
The Devil’s Chimney by Anne Landsman

Miss Beatrice’s ostrich farm was so big you could get lost on it.

Two Poems by Atar Hadari

Elegy for the Harris Theatre

At Forty Second Street before the changing of the light
and bus station at Eighth there was a movie house: a pit

A Strange Kind of Brain Damage by Can Xue

There does indeed exist a strange kind of brain damage. I have a friend who is a housewife in her thirties. When she talks with others, her left eye will not stop blinking.

Jesus Saves by Darcey Steinke

Early light seeped through the green plastic bags taped over the window, and made the room feel like the bottom of a swamp. 

Leaving Berlin by Elissa Schappell

It seemed like a miracle when the Germans called. The brass at Wunderleather wanted my husband Peter to establish their direct mail business not only because he was gifted, but most importantly he had been born and raised in Berlin.

Three Poems by Guy Gallo


The IRT rattled the customed, ignored noises

Separations by Leslie Dick

1. Wishful Thinking

Editor's Choice
Kurt Kauper by David Pagel
Kauper 1 Body

At a time when a lot of artists get a lot of attention for acting out rock ‘n’ roll fantasies (or pretending to live the lives of starry-eyed groupies), it’s refreshing to see a young artist fantasizing about opera divas—and then realizing these fantasies in lifesize paintings of imaginary prima donnas

The Museum of Modern Art by Carlos Brillembourg
Moma 1

The only International style building in New York, The Museum of Modern Art of 1939, designed by Philip Goodwin and Edward Durrel Stone, is once again scheduled for renovation and expansion

Elliott Smith’s either/or by Suzan Sherman
Smith Elliott 01 Bomb 061

On the cover of Elliott Smith’s CD either/or is a picture of the musician with Ferdinand the bull tattooed on his arm, the horns covered by his black t-shirt. 

Lee “Scratch” Perry by Rone Shavers
Perry 1 Body

If influence alone is an artist’s measure of true worth, then with the reexamination and subsequent recombination of Jamaican reggae music into British electronica and drum ‘n’ bass, it seems as if one of reggae’s original pioneers, Lee “Scratch” Perry, is finally about to be given his due. 

Susana Baca by Zoë Anglesey
Baca 1

Susana Baca exemplifies how an artist makes the world a stage. 

Richard Horowitz and Sussan Deyhim’s Majoun by Tim Nye
Richard Horowitz Body

Majoun is a collaboration of composer, performer, producer, American Richard Horowitz and Tehrani Sussan Deyhim. 

Harry Smith by Robert Polito
Harry Smith 1

When D.H. Lawrence wrote in Studies in Classic American Literature, “The furthest frenzies of French modernism or futurism have not yet reached the pitch of extreme consciousness that Poe, Melville, Hawthorne, Whitman reached,” he could also have been invoking the maverick American artists…

Errol Morris’s Fast Cheap and Out of Control by Jenifer Berman
Morris 1 Body

Referred to by its filmmaker as the “ultimate low-concept movie, a movie without a one sentence description,” Fast, Cheap & Out of Control interweaves the stories of four men seemingly obsessed by animals…

Larry Fessenden’s Habit by Suzan Sheman
Larry Fessenden

Habit is low budget and gritty, fitting for its setting in the lower Manhattan bars, tenement apartments, and Italian festivals of summer—you can almost smell the sausages and peppers smoldering.

Frederick Barthelme’s Bob the Gambler by Amy Hempel
Barthelme 1 Body

Bob le Flambeur is a ’50s French heist film in which a small-time hood tries to knock over a casino. It is a film that Raymond Kaiser rents, a film which ironically prefigures the trajectory of an American family in Frederick Barthelme’s eleventh work of fiction, Bob the Gambler.

Haruki Murakami’s Wind-Up Bird Chronicle by Robert Polito
Haruki Murakami. Photograph by Marion Ettlinger. Courtesy Alfred A. Knopf.

From his earliest spare fictions, Hear the Wind Sing and Norwegian Wood, through his recent, steadily more baroque and textured novels, A Wild Sheep ChaseHard-Boiled Wonderland and the End of the World, and Dance Dance Dance, Haruki Murakami nudged contemporary realism into fable…

Charles Frazier’s Cold Mountain by Gary Fisketjon
Frazier 1

Charles Frazier can neither be praised nor blamed for having his revelatory first novel, Cold Mountain, released into what can rightly be called a crisis in book publishing. 

J.M. Coetzee’s Boyhood by Caryl Phillips
Coetzee 1 Body

J.M. Coetzee has been long-recognized as South Africa’s finest novelist. His key novel, Waiting for the Barbarians (1982) and The Life and Times of Michael K (1983), plus his five other works of fiction, are all distinguished by a reticence to divulge any personal information about his own life. 

John Hawkes’ An Irish Eye by Patrick McGrath
Hawkes 1 Body

Now comes An Irish Eye, the story of a young orphan girl called Dervla O’Shannon and her quest for a rather mysterious elderly gent called Corporal Stack.

Keith Mayerson by Bill Arning
Mayerson 1 Body

Keith Mayerson is hard to pin down. Just when you have a handle on his work, he shifts in some unforeseeable but intuitively right way. He made a splash in 1994 with a 60-plus drawing suite retelling the story of Pinocchio from a queer perspective.

Brice Marden’s The Muses at the Venice Biennale by Jeremy Gilbert-Rolfe
Marden 2 Body

Brice Marden’s The Muses is a marvelous painting, horizontal but consisting of vertical linear movements which will reassure those who find relief in the potentially figurative.

Robert Stivers by Marvin Heiferman
Stivers 1 Body

Robert Stivers’s photographs are eerie reveries, dreams in which the face or figure of a person you’ve desired or loved or hated or have been terrorized by hovers uncomfortably above your body in the darkness. 

Al Souza: cutting up, cutting through, and cutting out by Saul Ostrow
Al Souza 1

Al Souza is a Texas artist originally from Massachusetts. His work, like Robert Rauschenberg’s of the ’50s, functions in the gap between art and life.