BOMB 87 Spring 2004
Shirley Jaffe’s distinctive and eccentric work is difficult to pin down, both in time and style. When I first came across her paintings at the Holly Solomon Gallery in New York in 1988, I had an immediate response to their idiosyncratic quality.
In spite of his six-foot-plus height, you might easily overlook James Welling in a crowded room. With his shaggy gray hair and tortoiseshell glasses, he looks every bit the UCLA tenured professor that he is.
I can’t remember where I first met Nuruddin Farah, but it was at some sort of conference.
More than a decade ago now, I came across a book titled Samba, by a woman with a long last name, really a first and last name run together, that I recognized: Guillermo Prieto.
In his startlingly upbeat feature fiction debut, Ra’anan Alexandrowicz presents a contemporary odyssey through the seamy underbelly of Israeli society.
Emilio had told me he was going to introduce me to the woman of his life: Rosario. Since he always said the same thing I didn’t believe him that time either. Those days, romance gone bad and some midterm exams had taken me away from the partying we always did together.
The day after they were married, Guadalupe drove Matilda in his old flatbed farm truck, rattling down the long potholed and gullied dirt road, and parked in a field his family used for grazing livestock.
There is a deceptive simplicity to Michelle Charles’s images of medicine bottles, honey jars, bars of soap, and other household objects.
Why do we keep looking for vitality in objects? Inert matter is over there, we’re here; we’re alive, it’s not. But collisions do happen and sparks fly.
Inconsistency, contradiction and the feminization of minimalism are discussed in relation to Karin Waisman’s sculptural work.
The shortcomings of New York’s Housing Act of 1949 are examined in City without a Ghetto, an exhibition at the Center for Urban Pedagogy.
Deterioration is a central theme of Decasia, from its dark and somber score to the images themselves, riddled with bubbles and cracks. Nostalgia, existence, transcendence and death all combine to form a beautiful work of film.
Walter K. Lew’s poetry is lyric and experimental and tackles some pretty heavy subjects, according to Patricia Spears Jones.
April Bernard describes the not quite definable nature of poet Elana Greenfield’s work.
Francis R. Jones has delicately translated poems of the Dutch poet and psychologist Hans Faverey. His work combines salient imagery and complex wordplay.
The work of Joseph Roth, Parisian writer and journalist of the 1930s, has only recently begun to be translated into English. Poet and translator Michael Hoffman is the source of these translations, which are being met with much acclaim.
Philip Glahn discusses the fables and work of Benjamin Weissman, comparing the writer to Bertolt Brecht and praising his poetic form.
Poets Anne Waldman and Frances Richard discuss their careers, new work, and life at the forefront of the poetic avant-garde. Or, as Waldman calls it, “the avant-derriere.”
Goodbye Babylon is a beautifully designed box set of gospel music that combines tracks of well known artists with restored tracks from lesser known artists that appear digitally for the first time.