The Aldrich Contemporary Art Museum
congratulates BOMB Gala honorees
James Keith Brown
and Eric G. Diefenbach
BOMB 80 Summer 2002
In engaging architecture as both subject and material, over the past decade Glen Seator has challenged the terms of site specificity and transportability, as well as the traditional boundaries between art and architecture.
My first encounter with the architecture of Ben van Berkel’s UN Studio was a visit on an early gray morning to his Möbius House, tucked away in a wooded area not far from Amsterdam.
I met Dubravka Ugrešić in 1996 at an orientation session at the Bunting Institute at Radcliffe College, where we were asked to sit in a close circle and tell our life stories in front of perfect strangers.
After seeing my first Michael Haneke film, I left the theater sick to my stomach. Perhaps this is not the most obvious compliment to pay a director, but there is a visceral effect to Haneke’s work that I would be remiss in not sharing.
I first met Donald Margulies at Sundance in the 1980s. An early play, What’s Wrong With This Picture?, was workshopped and given a fine reading.
Walter Hopps on the provocative, often rock ’n‘ roll inspired works of mischief-minded filmmaker, photographer and artist Bruce Conner.
Rob Wynne on the intimate, refined works of versatile artist James Brown.
In the spring of 2001, a vast and (surprisingly) sustained retrospective of paintings, sculpture, photographs, lithographs, and tapestries by the Turkish born artist Burhan Dogançay was held in Istanbul’s Dolmabahçe Cultural Center, formerly a palace wing.
It is about wanting and need, wanting and need—a peculiar, desperate kind of need, needing to get what you never got, wanting it still, wanting it all the more, nonetheless.
This First Proof contains three poems by Virgil Suárez.
This First Proof contains the poems “Crossroads Blues: Duet with Robert Johnson #4,” “Little Boy Blue: Duet with Robert Johnson #18,” and “Rambling on My Mind: Duet with Robert Johnson #33.”
This First Proof contains the story “Beauty and the Beast.”
This First Proof contains the poems “Revolution’s the Thing” and “Password for a Hybrid Century.”
This First Proof contains the story “Dog Tags.”
This First Proof contains the poems “Green in Green” and “Dusk.”
Spirit + Flesh, a collection of Fakir Musafar’s self-portraits, document the extremes to which Musafar subjects his own body, from compression to piercing.
Melissa Gould’s ongoing installation From Adler to Zylber uses iconographic artwork and the alphabet to organize a haunting pictorial catalogue of Jews sent to Auschwitz on Convoy No. 42.
After 20 years of capturing the particular light of the Lower East Side with oil paints and canvas, Mark Tambella receives a solo showing at La MaMa La Galleria.
Dannielle Tegeder’s mixed media canvases in the exhibition Love, Lust and Other Mechanical Systems remind reviewer David Hunt of post-9/11 military groupings, “pods” and “clusters” that suggest speed and mobility.
Claudia Acuña’s album Rhythm of Life is reminiscent of her performances at Manhattan jazz clubs, combining Chilean music with jazz standards and Acuña’s original compositions.
As its album cover proclaims, Rembetika is the music of “passion, drugs, jail, disease, death,” Greece’s own subculture rebellion that reminds reviewer David Krasnow of ’60s and ’70s American punk.
Contributing editor Coco Fusco’s second essay collection, The Bodies That Were Not Ours, demonstrates Fusco’s passion as an interviewer and interrogator of postcolonial legacies.
The chapter titles of activist and artist DeeDee Halleck’s guide to cheap, collaborative media speak for themselves, advising readers on “Community Control of Technology” and “Experimental Video and Public Television.”
The short stories and eponymous novella in Diane Williams’s collection Romancer Erectorwork through defamiliarization, engaging by alienating the reader from everything from spinach to narrative structure.
Jonathan Coe’s polyphonous novel The Rotter’s Club retells the story of pre-Thatcherite England, a time when one might hope that “the Irish question will be over in two years,” through the lives of four schoolboys.
Dennis Cooper’s dialogue-based My Loose Thread evokes the tragedy of Columbine and stuns reviewer Benjamin Weissman.