BOMB 123 / Spring 2013
ART — Verne Dawson and Genesis BREYER P-ORRIDGE
Dawson and BREYER P-ORRIDGE discuss prehistoric sites, astronomy, tarot cards and Time as they map out the origins of the ritual in each other’s work.
ART — STANLEY WHITNEY
by David Reed
Whitney and Reed examine the history of color in reference to race, music and the politics of Greenberg’s art scene in 1970s NYC.
ART — KATRÍN SIGURDARDÓTTIR
by Eva Heisler
Heisler and Sigurdardottir delve into the effects of memory and perception on the constructs of space within the parameters of Sigurdottir's sculptural work. Sigurdardottir discusses growing up in Iceland and how living on an island as affected the scale of her work in relation to her own physical body and the physical space which her work occupies.
THEATER — FEDERICO LÉON
by Richard Maxwell
Tracing heroism and depth through the works of Federico Léon and zeroing in on the parallels between film and theatre—Maxwell discovers the man behind the process and sheds light on the importance of accidents and the process of the actor in Léon's work with special emphasis placed on his latest production, Las multitudes.
ARCHITECTURE — STAN ALLEN
by Nader Tehrani
Tehrani introduces Allen's essay "Field Conditions" as a launchpad to explore the origins of architectural practices, composition, and the nature of systems in the organization of landscape.
LITERATURE — RACHEL KUSHNER
by Hari Kunzru
Growing up in a family of beatniks, Kushner discusses the novelist in relation to the novel and how history transforms into fiction. Kunzru places special attention on Kushner’s latest novel, The Flamethrowers and its relationship to Italian politics and the art world of the 1970s.
LITERATURE — ENRIQUE VILA-MATAS
by Lina Meruane
Meruane explores Vila-Matas' writing process by dissecting his research process through his travels and the origins of identity. The conversation examines tradition and the notion of the real in the original and the original in the real.
FILM — COLEEN FITZGIBBON
by P. Adams Sitney
Sitney deconstructs the work of radical filmmaker Fitzgibbon, by focusing on the artist’s technique and her evolution towards filming with an iPhone. The filmmaker reflects on how technology has shaped the outcome of her projects.
FIRST PROOF — BOMB’s Literary Supplement
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