BOMB 92 Summer 2005

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Paul Chan by Nell McClister

In his drawings and video projections, Chan stakes out the space between opposites as a field of promise.

Susan Wheeler by Robert Polito
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Robert Polito speaks with poet Susan Wheeler as her Ledger and Record Palace were about to be published.

Allan Sekula by Edward Dimendberg
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From his investigation of maritime space to his extensive travels to world seaports, Allan Sekula’s trajectory transforms and connects domains that aren’t usually compared. His practice has extended from photography into filmmaking and recently, curating.

George Steel by William Wegman
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Artist William Wegman has been an early music aficionado since he was a graduate student in the mid-‘60s. when he met George Steel, the Miller Theatre’s impresario who started the encyclopedic Composer Portrait Series, they had plenty to discuss.

Luc Tuymans and Kerry James Marshall
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Despite their very different cultural backgrounds, Tuymans and Marshall find common ground in their views of making and viewing art: its capacity to convey meaning, its frozen moment captured, its physicality, its value and effect.

Miranda July by Rachel Kushner

Writer Rachel Kushner examines the lineage of common themes and recurrent imagery in July’s extraordinary body of work.

Tony Conrad by Jay Sanders
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Over the past four decades, Tony Conrad’s legendary work in minimalist music, experimental film and video, has been seminal in the development of those art forms.

Carolyn Cantor by Betsy Sussler
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Edge Theater Company produces unequivocally complex new American plays that bring a provocative mix of dark humor and ardent wit to bear in their exploration of life’s messy contingencies. Carolyn Cantor directed their latest, Orange Flower Water.

Heather McHugh by Mattea Harvey
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“I start with an uneasiness. Somewhere a pattern’s undersung.” Thus is Heather McHugh inspired to one of her witty, contradictory, perspicacious, sometimes bawdy, always sense-soaked poems. She’s also just won a McArthur grant.

First Proof

The Portrait by Mary Morris

This First Proof contains The Portrait, an excerpt from The River Queen.

Nine Come by Elana Greenfield

III: The Voyager Returns

Two Stories by Peter Orner
Waters of Forgetfulness by Mark Swartz

It doesn’t happen often, but sometimes at the movies the projectionist will accidentally thread the wrong reel.

The Horse Thieves of Rockaway Beach by Mark Magill

Henry wanted me to help him get rid of a hand. It wasn’t just a hand. That’s what he said at first, but Henry never gives you the whole story right up front. It was a whole cellar full of parts. 

Three Poems by Patricia Spears Jones
The Proposal by Michael O'Keefe
Money and God by Susan Wheeler
Heather McHugh by Mattea Harvey
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“I start with an uneasiness. Somewhere a pattern’s undersung.” Thus is Heather McHugh inspired to one of her witty, contradictory, perspicacious, sometimes bawdy, always sense-soaked poems. She’s also just won a McArthur grant.

Artists On Artists

Beth Campbell by Don Shillingburg

Don Shillingburg on Beth’s Campbell’s room-sized installations involving talking, mass-produced household objects.

Paul Ramirez Jonas by Saul Ostrow
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Saul Ostrow on Paul Ramirez Jonas’s optimistic quest for inventiveness and adventure.

John Newman by Laurie Simmons
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Laurie Simmons on the fun, worldly sculptures of John Newman.

Sue de Beer by Nancy A. Barton
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Nancy Barton on how Sue de Beer’s video installation Black Sun explores death and effectively and empathetically channels the teenage experience.


A Ver: Revisioning Art History by Max Benavidez

Imagine: You attend a show called De lo que soy (Of what I am) and see a series called Nesting, large-format Polaroids that ingeniously depict cultural dislocation and migration through dreamlike images of wooden birds, symbols of freedom. 

Editor's Choices

Godlike by Richard Hell by Alan Licht

This article is only available in print.

Felix Gonzalez-Torres and Roni Horn by Lucy Raven
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Daniel Clowes’s Ice Haven by Paul W. Morris
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“What exactly are ‘comics’?” asks a resident of the town of Ice Haven, who functions as a kind of meta-guide on our descent into the underworld of Daniel Clowes’s latest imagining.

John Convertino’s Ragland by James Merle Thomas
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Spanning the distance between the living room and the mythic desert surrounding the Tucson barrio, between Erik Satie and Max Roach, John Convertino’s home-recorded Raglandtransmits an intimate immensity, a space Rilke contemplated when he wrote, “the world is large, but in us it is deep as the sea.”

Apichatpong Weerasethakul’s Tropical Malady by Lawrence Chua
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Apichatpong Weerasethakul’s training as an architect may not be immediately perceived in his trippy and moving Tropical Malady.

Harry Mathews’s My Life in CIA: A Chronicle of 1973 by Brandon Stosuy
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While newfangled literary stars boom and bust, Harry Mathews remains largely unread.

Bill Carter’s Fools Rush In by Jim Breithaupt
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When writer and photographer Bill Carter showed up in Sarajevo in the midst of the Bosnian War, shattered by the recent death of his girlfriend Corrina and struggling to find meaning as far from home as he could get, he had two college degrees under his belt, $200 in cash in the toe of his right boot, and barely an idea of which of the fighting factions in the civil war he’d entered he believed in. 

Jim Hodges’s Look and See by Dan Tranberg
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Jim Hodges’s work has always had its playful side.