The Aldrich Contemporary Art Museum
congratulates BOMB Gala honorees
James Keith Brown
and Eric G. Diefenbach
BOMB 97 Fall 2006
Amina Claudine Myers, virtuoso pianist and organist, sits down with trombonist, composer, and educator George Lewis to discuss the articulations between sound, history, and place that are central to her work.
On the occasion of Tod Papageorge’s “The Acropolis” series in Picture Magazine, we revisit his photographs of Central Park in the ’70s and his friendship with Garry Winogrand.
Anthony McCall speaks with fellow artists Graham Ellard and Stephen Johnstone about his latest work, Between You and I.
Award-winning novelist Madison Smartt Bell instigates an epistolary exchange with painter Judith Linhares on dream theory and Emily Dickinson.
Director Steven Shainberg and producer Andrew Fierberg share a successful partnership forged in projects like Secretary and their latest, Fur: An Imaginary Portrait of Diane Arbus. The two sit down to compare notes.
Rebeck is busy this fall: “Poor Behavior,” is now in previews at the Mark Taper Forum in Los Angeles. Her play “Seminar,” starring Alan Rickman and Lily Rabe, opens on Broadway in November.
Producer Omar Amanat speaks with author Nichole Argo on her groundbreaking study, The Human Bombs Project.
I first met Laurie Sheck in the summer of 1995, at another poet’s, Julie Agoos’s place in Princeton. Laurie lived in Princeton too, and taught at Rutgers, and I was there visiting friends for the day.
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.”
In Speak, Memory, Vladimir Nabokov describes meeting an old general as a child who, to amuse him, laid out matchsticks on a sofa, placing them end to end, saying, “This is the sea in calm weather,” then changing them to a zigzag and saying, “This is a stormy sea.”
The eyes of the Iranian Ministry of Security’s London office chief were green. Nariman, being 13 years old, didn’t trust those eyes.
The old mariner looked up, surprised to see anyone around him.
By 8 AM my older brother, the cracker, has me in a suit, in his car and on the way to the
Leah Beeferman on the art of Gregory Blackstock.
In Chicago, where I live, I can eat a cup of decent pea soup at a bakery across the street from the Richard J. Daley Center, a sharp steel and glass courthouse tower.
To find latent hymns in an increasingly dilapidated modernist Italian office building or situate an original sound composition within so highly reverent a structure as a James Turrell Skyspace requires a combination of confidence and humility found only in play.
The volumes in Afterall’s “One Work” series are extended, illustrated essays on individual contemporary artworks deemed to survey new artistic terrain or ask revolutionary questions about artistic practice.
I Celebrate Myself: The Somewhat Private Life of Allen Ginsberg
by Bill Morgan (Ginsberg’s archivist for the last 20 years of his life): Viking/Penguin, October
For more than 25 years, Maureen Owen has been creating poems that explore the malleability of the page—how space becomes its own punctuation or phrase.
“Then there’s the time I went as Hitler for Halloween,” begins the title story of Ryan Boudinot’s debut collection.
Crime in Choir’s third album, Trumpery Métier—an English/French combo-phrase meaning something like “pointless trade”—is a triumphant, prog-soaked instrumental rock album by five highly stoned and proficient musicians from San Francisco.