BOMB 77 Fall 2001
“Jefferson and Monticello are mythic. A lot of the work that I’ve done is related to this search for origins, and Jefferson represents the origin of an American self-image.”
I heard my first Julia Wolfe work, performed by the Spit Orchestra, in the early nineties.
carRobison’s dead-on depictions of fractured lives, her unusual narrative strategies and sparkling dialogue have won her critical acclaim for the short story collections, An Amateur’s Guide to the Night, Believe Them and Days, and her novels, Oh! and Subtraction.
I have seen Barry Hannah’s books in apartments, in libraries, and over a shoulder in a subway car. And I’ve noticed that the books are usually crammed with marginalia.
Jonathan Franzen and I conducted this interview at his dining room table, in his apartment on the Upper East Side, one morning in the early part of summer.
In Owens’s world the insides of refrigerators and closets, a lipstick-red toilet seat and well-stocked pantry drawers also warranted portraiture. What’s astonishing is not that Bill saw these things, knew these suburban families and inspected their domiciles, but that he was attentive and crazy enough to think that this was the stuff of photographs.
In the late ’80s and early ’90s Louise Fishman began to deliver works whose icons were both hewed from paint and saturated by the very light from which they spoke.
Austrian artist Walter Pichler’s studio is far removed from Vienna, in a town called St. Martin. In this rustic environment he has responded to the landscape with a series of primordial architectural works that comprise an enclave.
This First Proof contains the story “Billy Goats.”
Misled as to the nature of your overtures, still I ended up waking in your royal house on a bed of snow-colored leaves to the sound of sibilant birds.
This First Proof contains “The Dead Man’s Dream,” an excerpt from Under the Frangipani.
This First Proof contains the poems “Colloquy of the Cuy” and “Night Journey for a Friend.”
This First Proof contains the poems “Hells Bells” and “A Break in the Heat.”
This First Proof contains the prose poems “From a Family Album” and “Without Reservations”.
This First Proof contains the story “Taking a Stitch in a Dead Man’s Arm.”
Reviewer Rachel Greene considers the implications of separating the artist from the work itself, and speculates on the possibly limited degree to which we are given access to Francesca Woodman’s oeuvre.
According to reviewer Mona Simpson, A Practical Heart is Allan Gurganus’s best work yet.
Viewing Alex Brown’s paintings can be compared to spying an image through a heat wave, or through the blur of tears, creating a sense of “pleasurably anxious wavering between the discernable and the barely there,” writes reviewer Rachel Kushner.
In his new film, Michel Negroponte turns an engineer’s struggle to overcome seemingly impossible obstacles into a playfully hip little movie starring a robot named WISOR with witty one-liners.
Mitch Epstein’s enigmatic approach to conveying life in New York City gives one “the opportunity to ponder what photography can and cannot reveal about our public lives and our most private selves,” according to reviewer Marvin Heiferman.
Andrew Roy uses eccentric material and has a keen eye for distinct color and minute detail.
Zoë Anglesey discusses the talent of Willie Jones III, whose repertoire of distinct rhythms and cohesive accompaniment make for a very successful debut recording.
In his book Pasquale’s Nose, Michael Rips takes to the cafés and squares of a town in Italy to relate the stories of the eccentric folks who live there.
Appalling father figures, amoral children, the triumph of evil and remoreseless humor are just a few themes and concepts you’ll be turned onto in reading the works of Ivy Compton-Burnett.
Matthea Harvey reviews the recently translated works of the Greek poet Cavafy, considering the themes of history and impressionism.