BOMB 77 Fall 2001

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James Casebere by Roberto Juarez
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“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.”

Raimund Abraham by Carlos Brillembourg
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Julia Wolfe by David Krasnow
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I heard my first Julia Wolfe work, performed by the Spit Orchestra, in the early nineties.

Mary Robison by Maureen Murray
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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 NightBelieve Them and Days, and her novels, Oh! and Subtraction.

Barry Hannah by Fiona Maazel
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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 by Donald Antrim
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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.

Barbet Schroeder by Ken Foster
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Artists on Artists
Bill Owens by Larry Sultan

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.

Louise Fishman by Archie Rand

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.

Walter Pichler by Diane Lewis

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.

Rona Pondick by George Fifield

Perhaps too much has been made of the psychoanalytic content lurking under the surface of Rona Pondick’s simultaneously shadowy and intensely palpable objects. 

First Proof
Billy Goats by Jill McCorkle

This First Proof contains the story “Billy Goats.”

Two Poems by Albert Mobilio

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.

The Dead Man’s Dream by Mia Couto

This First Proof contains “The Dead Man’s Dream,” an excerpt from Under the Frangipani.

Two Poems by Daniel Shapiro

This First Proof contains the poems “Colloquy of the Cuy” and “Night Journey for a Friend.”

Two Poems by Jeffrey Skinner

This First Proof contains the poems “Hells Bells” and “A Break in the Heat.”

Two Poems by Carolyn Stoloff

This First Proof contains the prose poems “From a Family Album” and “Without Reservations”.

Taking a Stitch in a Dead Man’s Arm by Katherine Vaz

This First Proof contains the story “Taking a Stitch in a Dead Man’s Arm.”

A Lepidopterist’s Tale by Daniel Waterman

This First Proof contains the story “A Lepidopterist’s Tale.”

Editor's Choice
Elisabeth Subrin’s The Fancy by Rachel Greene
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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.

Allan Gurganus’s A Practical Heart by Mona Simpson

According to reviewer Mona Simpson, A Practical Heart is Allan Gurganus’s best work yet.

Alex Brown by Rachel Kushner
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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.

Michel Negroponte’s WISOR by Charlie Ahearn
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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 The City by Marvin Heiferman
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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 by Dona Nelson
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Andrew Roy uses eccentric material and has a keen eye for distinct color and minute detail.

Willie Jones III’s Straight Swingin’ by Zoë Anglesey
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Zoë Anglesey discusses the talent of Willie Jones III, whose repertoire of distinct rhythms and cohesive accompaniment make for a very successful debut recording.

Michael Rips’s Pasquale’s Nose by Frederic Tuten
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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.

Ivy Compton-Burnett by Maria Aitken
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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.

Before Time Could Change Them: The Complete Poems of Constantine P. Cavafy by Matthea Harvey

Matthea Harvey reviews the recently translated works of the Greek poet Cavafy, considering the themes of history and impressionism.

Paula Fox’s Borrowed Finery by Fiona Maazel
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Fiona Mazel contrasts Paula Fox’s fictional work to that of her forthcoming memoir, Borrowed Finery.

Double by Walter Pichler
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Sheila Levrant de Bretteville by Abby Goldstein
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Sheila Levrant de Bretteville may not be a familiar name. Like the people in her work she is, outside of her own community, an “unsung hero.”