In a new staging of Amiri Baraka’s one-act play, the audience and performers alike are tasked with endurance.
David Levine and Alexandre Singh discuss the playwriting process, stage excretions, and traversing the art-theater divide.
Tina Satter speaks about formalism, her perverse sense of humor and the importance of family drama.
Emily Hoffman on the broken patterns in William Forsythe’s Sider, a work that conjures and contends with Elizabethan tragedy.
Performance artist Neal Medlyn discusses the celebrity public persona, growing up Pentacostal, and his new performance King, running through October 26 at The Kitchen.
Katherine Cooper addresses a series of letters to performance artist Cynthia Hopkins in response to her work, This Clement World.
Polish artist Karczmarczyk on desire in a post-Communist country, why the Catholic church needs modern art and being mistaken for Lady Gaga.
Kelly Copper and Pavol Liska of Nature Theater of Oklahoma on their series Life & Times, new episodes of which will be presented this September by FIAF as a part of its Crossing the Line festival.
Performance artist Nelson and guitarist Reyna on women who shred and the unique artist community in Portland, Oregon.
BOMB visits Chloë Bass’s Bedford-Stuyvesant studio to discuss invisible performance artists, documenting ephemera and creating The Bureau of Self-Recognition.
Erin Markey discusses familial relationships, making “stuff for stage and video,” and dating chaperones.
Ragnar Kjartansson on protest songs, the Venice Biennale and why most of his art idols are women.
Michael Portnoy and Jovana Stokić discuss abstract games, the dangers of Relational Aesthetics and Portnoy’s recent participatory work 27 Gnosis.
Colette Lumière on the return of Victorian Punk, 40 years of “sleep art” and her artistic collaboration with Hurricane Sandy.
Genesis Breyer P-Orridge and Aaron Dilloway perform at one of the last Wierd Records parties at Home Sweet Home.
Colin Snapp and Daniel Turner discuss Jules Marquis, learning from their surroundings and the endless possibilities of collaboration.
A failed interview with the author of The Address Book, available now for the first time in English.
Adrien Tirtiaux pictures Dutch cuts to cultural funding as a slice through the Stroom Den Haag center for art and architecture.
Brian Rogers talks about reprising his performance piece Hot Box, the challenges of performing, and his compulsion to keep creating.
Cars come to life in Detroit.
Margaux Williamson on her performance piece How to Act in Real Life, her film Teenager Hamlet, and being a character in Sheila Heti’s How Should A Person Be?
Barbara T. Smith takes us on a journey through her life—from 1950s housewife to 1970s radical feminist, and on to her current work at age 81.
Emily Hoffman reviews the latest installment of Sarah Michelson’s Devotion series.
The Guggenheim invites artists, philosophers, musicians, and curators to spend an evening contemplating the sound and silence of the city at stillspotting ( ) nyc: finale
Jesse Zaritt reviews Political Mother, a fast and furious spectacle choreographed and directed by Hofesh Shechter.
Curators Chelsea Haines and Eriola Pira, and artist Christopher K. Ho on what makes an art world real or imagined.
Artist Harrell Fletcher reflects on a recent project at Tate and demonstrates the value of participatory engagement and social practice.
Haleem “Stringz” Rasul talks about the constantly evolving form of street dancing in Detroit—from the jit to b-boy swag.