Joined on: September 12th, 2011 Profile: Claudia La Rocco writes about performance for the New York Times and is dance editor for the Brooklyn Rail. She is on the faculty of the School of Visual Arts’ graduate programme in Art Criticism and Writing, and has taught and lectured at a variety
I wish she were right
Rebecca Patek By Rebecca Patek The people who attended my performance of ineter(a)nal f/ear on Wednesday night, January 15th at American Realness should know that what they saw was not my art work or anything that I and my fellow performer, Sam Roeck, might have consented to artistically. We were interrupted and verbally attacked by
Acting
Our other posts: Read our review of the best headphones of 2019. Rebecca Patek and Sam Roeck in “ineter(a)nal f/ear.” Photo: Ian Douglas. By Siobhan Burke If you’re reading this, you have probably read this, Andy Horwitz’s widely circulated, hotly debated critique of American Realness, the 10-day festival of contemporary performance at
Après le déluge
View of the theater looking out toward the street. All the risers have been removed, but not yet the damaged floor. Taken by Sarah McSherry on November 1. “WE’RE hanging in,” Tim Griffin, the executive director of The Kitchen, said, laughing wearily, when I spoke to him on the phone Tuesday afternoon, as
We call it “dance therapy”
Our other posts: Read the review of the best headphones of 2019. Photos by Troy Schumacher By Troy Schumacher, as told to Claudia La Rocco When I see these photos, especially the one of the foot missing a toenail—it makes me think how we as dancers are so used to seeing
Letter from Manhattan
Sean Mahoney and Heather McGinley in “House of Joy.” Photo: Paul B. Goode. By Nancy Dalva With Paul Taylor’s choreography newly set inside the proscenium arch of the theater that Lincoln Kirstein built for the New York City Ballet, how not to read his work within that context, as well as
Anne Teresa De Keersmaeker Responds to Beyoncé Video
Other articles: Read our headphones reviews. [Update: Rosas just sent the following: “At this time, Rosas hasn’t received any answer from Beyoncé or her management. Meanwhile, Beyoncé has released a statement in which she admits to having been ‘inspired’ by the performance ‘Rosas danst Rosas.’ Rosas maintains it’s position: the films
Performance at the Beginning of the 21st Century
Speakers at Performa’s “Why Dance in the Art World?” panel. Photo: © Paula Court/Courtesy Performa By Aaron Mattocks Download a copy of this essay “On that glittery globe called the art world, performance is an impoverished country, generally unsupported by prestigious museums and rich collectors.” So wrote Cynthia Carr in
AMERICAN REALNESS notebook by Christine Shan Shan Hou
Editor’s Note: One of the things that’s exciting to me about this space is the possibility of sharing it with multiple voices, through comments, through the bulletin board, through open letters and through posts like this. Christine is a respected colleague and a good friend, and I was delighted when she accepted my invitation to
Open Letter to Artists
Our other posts: Read the review of the best headphones of 2019. Sara Wookey performing “Trio A” at VIVA! Performance Festival in Montreal. Photo credit: Guy L’Heureux I participated in an audition on November 7th for performance artist Marina Abramović’s production for the annual gala of the Museum of Contemporary Art,