BOMB 80 Summer 2002

BOMB 080
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Petah Coyne by Lynne Tillman
Glen Seator by Anthony Vidler
Seator 12 Body

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.

Ben van Berkel by Gabriella De Ferrari
Vanberkel 01 Body

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. 

Reynolds Price by Caleb Smith
Price 01 Body
Dubravka Ugrešić by Svetlana Boym
Urgesic Body

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.

Michael Haneke by Lawrence Chua
Bomb Haneke Body

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.

Donald Margulies by Romulus Linney
Marguiles 02 Body

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. 

John Zorn by Michael Goldberg
Zorn 01 Body

The first pieces I heard of John Zorn’s were both titled Lacrosse, one from 1979 and the other from 1981. 

Artists on Artists
Bruce Conner by Walter Hopps
Conner 01

Walter Hopps on the provocative, often rock ’n‘ roll inspired works of mischief-minded filmmaker, photographer and artist Bruce Conner.

James Brown by Rob Wynne
James Brown 01

Rob Wynne on the intimate, refined works of versatile artist James Brown.

Burhan Dogançay by Phillip Lopate
Burhan Dogancay 1

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.

First Proof
Remedy by A.M. Homes

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.

Three Poems by Virgil Suárez

This First Proof contains three poems by Virgil Suárez.

Three Poems by Diann Blakely

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.”

Beauty and the Beast by Simon Lane

This First Proof contains the story “Beauty and the Beast.”

Two Poems by Luis Francia

This First Proof contains the poems “Revolution’s the Thing” and “Password for a Hybrid Century.”

Dog Tags by Jeffery Renard Allen

This First Proof contains the story “Dog Tags.”

Two Poems by Xue Di

This First Proof contains the poems “Green in Green” and “Dusk.”

Two Poems by Bob Russell

This First Proof contains the poems “Smoke” and “Fences.”

Editor's Choice
Fakir Musafar, Spirit + Flesh by Marvin Heiferman
Fakir Musafar 01

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 by Thomas Bolt
​Melissa Gould 01

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.

Mark Tambella: A La MaMa Baby Grows Up by Roberto Juarez
Mark Tambella 01

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 by David Hunt
​Dannielle Tegeder 01

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 by Zoë Anglesey
​Claudia Acuña​ 01

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.

Rembetika: Songs of the Greek Underground, 1925–1947 by David Krasnow
Rembetika 01

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.

Coco Fusco’s The Bodies That Were Not Ours by Grady T. Turner
Coco Fusco 01

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.

Hand-Held Visions: The Impossible Possibilities of Community Media by DeeDee Halleck by Martha Rosler
DeeDee Halleck 01

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.”

Diane Williams’s Romancer Erector by Matthea Harvey

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 The Rotter’s Club by Lynn Geller

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 My Loose Thread by Benjamin Weissman
Dennis Cooper 01

Dennis Cooper’s dialogue-based My Loose Thread evokes the tragedy of Columbine and stuns reviewer Benjamin Weissman.