On the morning of March 27, 2010, the MoMA opened with Marina Abramovic seated facing a table and an empty chair, on schedule, ready to receive visitors as part of her ongoing marathon performance “The Artist is Present.” But this day was different…
Alice Whitwham reviews Tino Sehgal’s The Kiss at the Guggenheim.
Everyone is sad for X Initiative’s one year art attack on Chelsea come to an end. But if we had to see ‘em go, it was sure nice to see ‘em go out with a bang.
It is about the articulation of the literary and physical voice that I write about here, after having seen David Greenspan’s sublimely written and performed The Myopia, produced by The Foundry Theater and closing this weekend, on February 7.
In PS122’s downstairs theater—a small square of a stage surrounded by black bricks—a handsome, scruffy Parisian named Jonathan Capdeville sat on a wooden chair with a boombox to his left and a duffel bag to his right.
Kenneth Lonergan‘s The Starry Messenger opened earlier this week. From honest writing to heart-delivered acting, it is a play not to be missed.
When I went to watch the Glenn Kaino/Ryan Majestic magic show at the Slipper Room, I really didn’t have a clue what I was in for. Luckily not knowing any of this beforehand was probably the best way to go into this one-night PERFORMA event.
Speeding through creative thoughts and curatorial vision with Liutaurus Psibilskis, a curator whose primary focus is to awaken the public to both the unrecognized historical presence and contemporary significance of video and performative artwork.
Richard J. Goldstein and Hannah Kahng interview Armen Ra about his work and his recent performance at the New Museum.
Martha Clarke’s Garden of Earthly Delights is a lyrical and dark performance of man’s first nature, without morality, but with nobility.
Coney Island Circus Sideshow and Hungry March Band bring their crazy, freaky, fun performance to Manhattan.
The Bridge Project performs Shakespeare’s The Winter’s Tale at BAM.
About a week after Valentine’s Day, I found myself on a barge under the Brooklyn Bridge where a pair of early music revivalists were set up in a perfectly amorous display.
The SITI company’s production of Freshwater creates mesmerising stage pictures to permeate the story, filled with notions of truth, youth, beauty, fact, and the elitism of these ideas.
Lena Valencia reflects on a Laurie Anderson performance that included everything from news anchors to gospel.
In the first installment of BOMBlog’s video art series Rodney McMillan recites LBJ’s Great Society speech from memory.
Writer Jeremy Sigler talks to his mentor, performance artist Nigel Rolfe, about art as human experience.
Part of the series In the Open: Art & Architecture in Public Spaces, filmed in Weiner’s studio in Greenwich Village, Spring 2010. A retrospective of Hayes work opens June 21 at the Whitney.
WEB EXCLUSIVE Joe Scanlan has been hiring diverse black actors to play the fictional emerging artist Donelle Woolford at art openings and lectures. With poet Jeremy Sigler, he delves into the project’s intricacies and uncomfortable implications.
WEB EXCLUSIVE Oskar Eustis, the Public’s Artistic Director, and his collaborator, Hewes Award-winning set designer David Korins. Having recently collaborated on Passing Strange among other productions, the two discuss how process makes perfect.
WEB EXCLUSIVE The Venezuelan artist who once replicated her apartment in a Caracas museum revisits key performances, discussing her personal measurement unit (the anto) and the fauna she researches in her apartment.
WEB EXCLUSIVE David Levine spoke to director Michael Thalheimer as he prepared to bring his version of Frank Wedekind’s Lulu to New York. This interview is a part of the Select Equity Series on Theater.
Brecht’s estrangement, Artaud’s ritual theatre, Boal’s Theatre of the Oppressed, and camp inform My Barbarian’s performance work: an investigation of what constitutes transformative cultural practice.
Aki Onda’s body of work is an investigation of sound’s place in the tactility and visuality of a three-dimensional world. Watch an excerpt from a performance by Onda and filmmaker Paul Clipson.
Opposites attract—one looks to the past; the other looks to the future. One paints; the other everything but. A dialog of overlapping engagements beween Dawson and Genesis BREYER P-ORRIDGE.
If ensemble theater group Rude Mech’s ethos was a draw for Radiohole’s Dyer, their bacchanalian re-creation of the Performance Group’s Dionysus in 69 clinched the connection.
Muhly chats with fellow composer, and Pulitzer Prize winner, David Lang about his recent work, love fail, and his uncanny ability of capturing deceptively complex emotions in his music.
Russ follows the instructions of The Cruise, a “floating audio film,” which directs its listeners to follow Maja Sweeney on a monologue through the mind.
Gordon Monahan’s book, Seeing Sound, is a trilingual, experimental text which presents his catalog of work dating from 1978 to 2011.