New York Live Arts is committed to furthering the creation of new work by artists at all stages of their careers. Through signature programs such as the Randjelović/Stryker Resident Commissioned Artist, Live Feed residencies and more, Live Arts provides artists with vital resources for research, development, and the creation of new dance and performance.
(Re)Live Arts Streaming is officially here 🎥
Every Thursday, we will be bringing you content from the Bill T. Jones/Arnie Zane Company and Live Arts archives!
Please note that closed captioning is available by clicking on the icon at the bottom of the video screen.
Here’s your queue for the week:
- Analogy/Dora: Tramontane, Bill T. Jones/Arnie Zane Company, 2015
- another piece apart, Jennifer Nugent & Paul Matteson, Live Feed World Premiere 2018
- Bill Chats: Oskar Eustis, 2019
These will be available until next Thursday, when we’ll refresh the page with entirely new events. Also be sure to check out and follow our YouTube page to watch some of our humanities programming and for a glimpse into the shows you might see!
Utilizing social media posts, stories and live broadcasts, this digital diary will document the company’s creative explorations as New York’s performing arts world is on pause. By following Diary: Pause/Intermission, audiences will gain intimate access into the ways in which Jones and the company continue refining their craft amidst crisis while simultaneously developing two new works: Deep Blue Sea and Curriculum. Additionally, the series will feature multimedia artistic inspirations, as well as live-streamed conversations between Jones and collaborators. Individual members of the company will also contribute to the diary, leading various short classes in choreographic phrase work and more.
The Bill T. Jones/Arnie Zane Dance Company was born out of an 11-year collaboration between Bill T. Jones and Arnie Zane (1948–1988). During this time, they redefined the duet form and foreshadowed issues of identity, form and social commentary that would change the face of American dance. The Company has performed worldwide in over 200 cities in 40 countries on every major continent and is recognized as one of the most innovative and powerful forces in the dance-theater world.
Alter-Worlds: Black Utopia and The Age of Acceleration
Contemporary Afrofuturism may be defined as an emerging social philosophy of the African diaspora and Africa. Today, partly because of a crisis in globalization, social media and other technological advances, it has grown into a Pan African movement that encompasses artistic, academic, geopolitical and scientific investigation and production. This edition of Live Ideas, Alter-Worlds: Black Utopia and The Age of Acceleration, will explore this second wave of Afrofuturism as the ground work for a future that is not bound up with the ideals of white Enlightenment universalism. The five-day festival will unfold at the intersection of arts, techno-culture, sci-fi, social sciences, philosophy and the imagination. See you in the future!
Live Ideas” Alter-Worlds: Black Utopia and The Age of Acceleration is co-curated by Reynaldo Anderson in partnership with the Black Speculative Art Movement (BSAM).
Live Ideas is an annual humanities festival of arts and ideas, exploring the ideas, controversies and thinking informing a different bodily-oriented theme each time out. View video of the past festivals on our youtube channel. For more information on specific years, click below.
Live Ideas 2019: AI – Are You Brave Enough for a Brave New World?
Live Ideas 2018: Radical Vision, co-curated with Brian Tate | The Tate Group and the Hannah Arendt Center
Live Ideas 2017 : Mx’d Messages, Curated by Mx Justin Vivian Bond
Live Ideas 2016: MENA/Future – Cultural Transformations in the Middle East North Africa Region
Live Ideas 2015: S K Y – Force and Wisdom in America Today, Curated by Laurie Anderson
Live Ideas 2014: James Baldwin, This Time!
Live Ideas 2013: The Worlds of Oliver Sacks
The Randjelović/Stryker Resident Commissioned Artist program was created in 2011 by New York Live Arts to address what we perceive to be an overall lack of support for mid-career artists. The program is by-invitation only and offers a salary, health benefits, two years of residency time and a commission of a new work to premiere at New York Live Arts. Select works will then be chosen for a fully produced national and/or international tour managed by New York Live Arts.
Raja Feather Kelly is the 2019 – 2020 Randjelović/Stryker Resident Commissioned Artist (RCA). Raja has also been awarded a New York Dance Performance “Bessie” Award, a Bessie Schonberg Fellowship at The Yard, a DanceWEB Scholarship, a New York Foundation for the Arts Choreography Fellowship, a HERE Arts Fellowship, 2018 Creator-in-Residence at Kickstarter, and a Choreography Fellowship at the Center for Ballet and the Arts at NYU. Raja will be working on a commission to premiere in Fall of 2020.
Since the creation of the program in 2011, Randjelović/Stryker Resident Commissioned Artists have been Yasuko Yokoshi, Kyle Abraham, Okwui Okpokwasili, and RoseAnne Spradlin, whose critically acclaimed premiere of Y opened our 2018 – 19 season. Abraham and Okpokwasili went on to become MacArthur Fellows in 2013 and 2018, respectively.
The Live Feed creative residency program is a laboratory for the development of new commissioned work directed toward our theater. Informal public showings offer a sneak peek into each resident artist’s process and ideas before they hit our stage. Each showing takes place within the intimate working space of the Live Arts studio and is followed by a discussion with the artist moderated by special guests and Live Arts staff.
We’re ecstatic to announce our 2019 – 2020 Fresh Tracks resident artists! Congratulations to Anh Vo, Annie Heath, Jordan Lloyd, Kayla Hamilton and Stuart B Meyers!
Created in 1965 by Dance Theater Workshop, Fresh Tracks continues as a signature program in New York Live Arts. Designed as a springboard for intensive choreographic, administrative and creative development, Fresh Tracks is a pioneer opportunity in the field, positioning early career artists at a unique vantage point within Live Arts’ annual programming.
The Fresh Tracks Program provides five artists with a 50-hour studio residency, a professionally-produced shared evening bill in the New York Live Arts theater, an artist fee, professional development workshops led by established professionals from the field and extensive support from Live Arts’ Marketing, Production and Programming staff. The artists will be mentored by the program’s Artistic Advisor Nia Love.
Unfolding over the course of Live Arts’ regular presenting season, the Fresh Tracks Program provides five artists with a 50-hour studio residency, a professionally-produced shared evening bill in the New York Live Arts theater, an artistic fee, a one-on-one dialogue session with the program’s Artistic Adviser, professional development workshops led by established professionals from the field and extensive support from Live Arts’ Marketing, Production and Programming staff.
New York Live Arts’ dynamic platform of new and recent works by resident commissioned artists and curated guests. Presented during the annual Association of Performing Arts Professionals conference, Live Artery featured excerpts of recently premiered works and work-in-progress presentations.
The Ford Foundation Live Gallery, located in the lobby of New York Live Arts, features site-specific works throughout the year. Past artists have included Rashaad Newsome, Donald Baechler, Kiki Smith, Robert Longo, Bjorn Amelan, For Freedoms/Hank Willis Thomas, Zoe Buckman and Natalie Frank, Nat Ward, Jonathan Allen, Nick Cave and Bob Faust, Derrick Adams, Avram Finkelstein and Rodrigo Moreira.
The roughly 21′ x 7′ backdrop entitled Femmejoy was created in relation to Liliana Dirks-Goodman’s Open Spectrum: The Feminist Dinner Party: Present/Future at Live Arts from Sunday, March 8th, 2020. The artist has arranged flower imagery over Andy Warhol’s famous camouflage pattern. The flowers draw on iconic feminist art imagery that symbolizes female to female erotica, such vulvas, mouths, and tongues. Co-opting Warhol’s camouflage, Dirks-Goodman reclaims and reuses pop art references to Capitalist war iconography for the purpose of celebrating pleasure and giving visibility and agency to femme identity.