I've been a contributor and contributing editor for a long time, perhaps almost from the beginning. I knew the editor and publisher, Betsy, before she started Bomb and knew it would be a hit as soon as she started it. Because Betsy had a good grasp of what wasn't quite there in the New York cultural world and also of where that world might be going. At a time when Artforum and the other art mags were becoming increasingly anti-theoretical Betsy let one write as one felt best, as she still does, while at the same time always being up for one's explorations into fields one hadn't investigated before--for example the essays on fashion I published in Bomb in the eighties. Bomb has become a journal no one doesn't read, there is always something short in there that gets to something one might well have otherwise missed, and something longer which is essential reading.
I have worked as a contributing editor for BOMB for almost 30 years. This arts quarterly has never shifted from its central mission, to bring artists and writers together in conversation, and to publish their interviews and their work. There is nobody of any stature that BOMB has overlooked--film makers, composers, novelists and poets, painters and performance artists... actors... playwrights... and no other publication is committed as BOMB is to publishing their ideas in depth as they discuss them not with a journalist but a peer. My own contribution in the early years was to conduct lengthy interviews with British writers as yet unfamiliar to a wide American audience. Readers of BOMB were the first to read Martin Amis, Ian McEwan, Julian Barnes and a number of others speaking frankly and at length about their work. BOMB has been ahead of the curve in this way in every area of artistic activity, and for this reason is to be considered a very great nonprofit indeed.