BOMB 88 Summer 2004

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interviews

Olafur Eliasson by Chris Gilbert

Conceptual art’s shift away from the traditional art object—sometimes dubiously referred to as “dematerialization”—was more or less an idée reçue in the late 1980s and early ’90s, when Olafur Eliasson was beginning to make art as a student at the Royal Academy of Arts in Copenhagen.

Ellen Phelan by Michèle Gerber Klein
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When Ellen Phelan first told me about her plan to work with existing photographs—family-album snapshots of her life from childhood through adulthood, some shot by her father and others by her husband, Joel Shapiro—I was immediately touched and intrigued.

Percival Everett by Rone Shavers
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Francisco Goldman by Esther Allen
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A Cuban American friend who grew up in Philadelphia used to make regular trips to New York City as a child. 

Ben Katchor by Alexander Theroux
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Ben Katchor is a recorder of vanished and vanishing places, a poet of the vast metropolis of New York. He notices, crucially, what others walk by, fail to see and generally disregard—a man living in the mosaic while seeing its details. 

Jørgen Leth by Anne Mette Lundtofte
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Jørgen Leth has always lived by his own rules—he’s a poet, a journalist, a filmmaker and a sports commentator, as well as Denmark’s Honorary Consul in Haiti. 

Michael Bell by Andrew Benjamin
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Michael Bell represents a new breed of architectural practitioner, theorist, and professor. 

Mauricio Kagel by Anthony Coleman
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Mauricio Kagel’s seminar in Aix-en-Provence, France, in the summer of 1981, sponsored by the organization Centre Acanthes, was a turning point in my life.

First Proof

Port Mungo by Patrick McGrath

My brother could never be called a wistful man, but there was more than a whisper of nostalgia in him when he spoke about their first days in America.

Three Stories by Diane Williams
Collusions by Beth Helms

In the afternoons Ghy and I carry our tea out to the screened-in porch. We cut sandwich rounds—using shot glasses to make perfect circles—and stack them with cucumber slices and homemade mayonnaise, tomato and whatever cheese is handy.

Desire by Lindsay Ahl

I am in a deep sleep when her perfume enters my room, inhabits it like a ghost, until I feel her breath on my skin, shaking my shoulder, waking me up.

Hate by Dylan Landis

Leah, home from school early, caught her mother—fingers frozen in a Whitman’s Sampler, the box all bristly with pleated cups. Empty, mostly.

Four Poems by Matthew Zapruder
Poem Written From November 30 to March 27 by Juliana Spahr

After September 11, I kept thinking that the United States wouldn’t invade Afghanistan. I was so wrong about that.

Two Poems by Tom Healy
Artists On Artists

Doug & Mike Starn by Tom Healy

Tom Healy on the influences of science, nature, and the sun that define the photography of identical twins Doug & Mike Starn.

Hernan Bas by Roberto Juarez
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In 1964, more than a decade before Hernan Bas was born, Dieter Roth painted portraits with biodegradable materials such as processed cheese and chocolate.

Kathleen Gilje by Mary Ellen Mark
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Portraiture is about many things: how the subject relates to the photographer or painter, and where the subject’s gaze lies.

Banks Violette by Sue de Beer
Editor's Choice

Dieter Roth: Roth Time by Marjorie Welish

If there is any one thing that distinguishes Dieter Roth’s anarchic dadaist assemblages from all else that has come on the scene since, it is that their inflection of a radical practice is coextensive with Roth’s own life.

Helga Von Eicken by Cynthia Eardley
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The sculptures of Helga von Eicken explore the mysterious inner world of human consciousness, conveying simultaneously presence and absence, memory and change.

The War in Iraq, International Center for Photography by Lucy Raven
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As the American occupation of Iraq drags on despite recycled timelines and White House reassurances, the timing of this show (which opened on the day of the Madrid bombings) felt unsettlingly right. 

Geoffrey Batchen’s Forget Me Not: Photography and Remembrance by Nell McClister
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It is usual these days to look back at the invention of photography in the mid-19th century as a welcome event in technological progress that enabled an exciting new form of representation: a moment captured and represented as fact.

Ann Hood’s An Ornithologist’s Guide to Life, Julie Orringer’s How to Breathe Underwater, Michael Redhill’s Fidelity, Joan Silber’s Ideas of Heaven: A Ring of Stories by Mary Morris
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I like surprises. I always have. 

Matthea Harvey’s Sad Little Breathing Machine by Matthew Zapruder
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One of poetry’s virtues is compression; one of its temptations is a reticence that says little and leaves out even less.

Benjamin Hollander’s Rituals of Truth and the Other Israeli by Ammiel Alcalay
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Ammaiel Alcalay describes Benjamin Hollander’s new book, Rituals of Truce and the Other Israeli as a book laden with philosophical and cultural references that lace the story together.

Glen E. Friedman, The Idealist: In My Eyes—25 years by J.Y Lym
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Twenty-five years in the eyes of photographer Glen E. Friedman’s “Idealist” is a challenging record of diverse images. I

Jehane Noujaim’s Control Room by Bette Gordon
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Documentary filmmaker Jehane Noujaim invites viewers into both Al Jazeera, Arab-language satellite television, and CentCom, the US military news center, for two very different media portrayals of the 2003 US invasion of Iraq.

Highly Bred & Sweetly Tempered by Climax Golden Twins by Fionn Meade

Climax Golden Twins—actually a trio—has a considerable discography of well-hidden projects. 

Fiery Furnaces’s Blueberry Boat by Peter Margasak
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Last year sister and brother Eleanor and Matthew Friedberger—New Yorkers raised in Ernest Hemingway’s Oak Park, Illinois—quickly made their mark by releasing one of the most beguiling debut albums in years.