News

 
Review: An Actor’s Life Story Grounds ‘Jack &’ With ‘The Cotillion’
04/18/2019
The New York Times
The avant-garde is not usually associated with star turns, but it has often relied on them — Kate Valk’s performances in Wooster Group productions immediately come to mind, or Scott Shepherd’s in “Gatz,” Elevator Repair Service’s adaptation of “The Great Gatsby.” What Cornell Alston...

View

Review: ‘Analogy Trilogy’ by Bill T. Jones/Arnie Zane Company at the Kennedy Center
04/03/2019
DC Metro
It’s too simplistic to call Bill T. Jones a choreographer, although that’s been his stock and trade for more than 40 years. This past week his Analogy unfolded as a trilogy, over three nights at the Kennedy Center’s Eisenhower Theater, where Jones later held court after each show, taking questions from the...

View

Cornell Alston and Kaneza Schaal’s Performance Considers How We Rebuild Dreaming After Trauma
04/02/2019
Creative Capital
How do we rebuild dreaming after trauma? In their Creative Capital Project JACK &, Cornell Alston and Kaneza Schaal consider reentry to society after prison, focusing not on the time one serves, but the measure of ones dreaming that is given to the state. After a sold-out run of performances at...

View

BWW Review: BILL T. JONES/ARNIE ZANE COMPANY ANALOGY TRILOGY: DORA: TRAMONTANE at The Kennedy Center
03/29/2019
Broadway World
Jones/Arnie Zane Company of New York Live Arts has a formidable reputation – the company is known for its innovative, musically-driven works that often incorporate vocal and stagecraft techniques into the dance performances. The Company’s Analogy Trilogy began development in 2013, and the first work, Dora: Tramontane, premiered in 2015. In the subsequent...

View

Dancemaker Bill T. Jones isn’t always sure art is useful. Here’s why he keeps at it.
03/22/2019
The Washington Post
It’s not just that his tall, broad-shouldered frame gains a few inches from the black wool beanie that stands upright, no hint of slouch, atop his clean-shaven head. At 67, Jones inhabits this space the way he commanded...

View

Review: In ‘Paramodernities,’ Words and Dance Do Battle. The Audience Wins.
03/15/2019
The New York Times
If dance is a kind of knowledge, what kind is it? Who has the right to dance what? Is a legacy public, and what can legitimately be done to it? What do staged bodies signify, other than mere form? These are some of the questions projected before...

View

A Humble Utopia: Liliana Dirks-Goodman’s Dinner Party 1960-2000s
03/14/2019
Culturebot
Architecture is not only about concrete structures and monuments, but questions of how we are inhibited, and invited to inhabit space. If philosopher Elizabeth Grosz insists that there is not a feminist architecture, Liliana Dirks-Goodman, an architect and designer, quietly disagrees. With her second conceptually curated dinner party, after Judy Chicago’s iconic...

View

Netta Yerushalmy’s Rites of Modern Dance
03/13/2019
The New York Times
#SpeakingInDance | “There’s no build to the dance, so it’s a challenge from the very first step,” said Marc Crousillat of this reimagined version of Nijinsky’s “Rite of Spring” conceived by the choreographer Netta Yerushalmy. Part of Netta’s “Paramodernities” project — an ambitious deconstruction of works by 6 choreographers...

View

To Nudity, Physical and Emotional, a Dance Duo Now Adds Words
03/05/2019
The New York Times
The dance duets that Molly Lieber and Eleanor Smith have been creating for themselves since 2006 are intensely intimate. Moving together through positions of sculptural beauty that might make you think of Rodin or Degas, the two women seem to exist in a world shrunk down to two. Without overt...

View

Envisioning Inclusive, Soulful Spaces for Artists
03/01/2019
Hyperallergic
Watching Thelma Golden, director and chief curator of the Studio Museum of Harlem, swaying to the blues of Toshi Reagon’s BIGLovely in a crowded room at the Park Avenue Armory, felt like a fitting end to a symposium called “Interrogations of Form: Culture in a Changing America.” Wearing...

View