Being a provocateur, Planet of the Apes, and the “wow” factor of Cuban Art.
On the occasion of Elevator Repair Service’s acclaimed staging of The Sound and the Furyat the Public, we revisit Coco Fusco’s interview with the ensemble from BOMB 67.
Critics were spinning their wheels about Australian photographer Tracey Moffatt’s work because she hadn’t been talking. Coco Fusco leads Moffatt through a discussion of the madness in the method.
I remember sitting in the basement of the Whitney Museum a few years back, thinking it was a weird place for an event featuring the funky bards of the Nuyorican Poet’s Cafe.
Artist Lorna Simpson has turned from photography to film, creating three-dimensional installations on voyeurism, betrayal and desire. She has returned to photography for her show, Gathered, up at the Brooklyn Museum through Aug. 21.
Roger Guenveur Smith’s new play, Juan and John, is up at the Public now. In this ’97 interview, Coco Fusco probes the man and his narrative, a complex and riveting portrayal of a ’60s icon, and a fast-fire delivery.
I will never forget the first time I had one of those “moments” with Hilton Als. It was years ago, and we were younger of course, and I was bringing in some measly article to the Village Voice and there was Hilton, laying out pictures and watching everything.
Without uttering a single word, Bustamante offers an eloquent commentary on the abject dimension of female experience.
Coco Fusco looks into the theatrical value of Sacred Naked Nature Girls’ spontaneous, symbolic all nude show, and how it deals with issues of the body, gender and performance.
“I’m talking about stopping one of the older human rituals, human sacrifice, and I think that’s what I’m really trying to get to. I have to get where words will stop a death.”
Artists Guillermo Gómez-Peña and Coco Fusco speak with Anna Johnson on shaking conceptions of ethnicity and identity in their seminal The Year of the White Bear.