Audiences

A new look at the actions, drawings, and sculpture of the late Japanese artist.

A performance artist who grew up in the circus uses clowning, street dance, and butoh in playful and provocative combinations.

Early film, nineteenth-century science fiction, and experimental musical languages serve a young artist’s explorations of race and our political present.

I’m sitting in the BAM Opera House among the rustling of bodies settling into their seats when the lights suddenly cut out.

In a new staging of Amiri Baraka’s one-act play, the audience and performers alike are tasked with endurance.

Performance artist Neal Medlyn discusses the celebrity public persona, growing up Pentacostal, and his new performance King, running through October 26 at The Kitchen.

Katherine Cooper speaks to playwright Adriano Shaplin about baffled audiences, favoring amateurism over professionalism, and what The Crucible got wrong.

Kelly Copper and Pavol Liska of Nature Theater of Oklahoma on their series Life & Times, new episodes of which will be presented this September by FIAF as a part of its Crossing the Line festival.

Brian Rogers talks about reprising his performance piece Hot Box, the challenges of performing, and his compulsion to keep creating.

Choreographer Dean Moss speaks with one of his collaborators, playwright Young Jean Lee, about his early years as the son of civil rights workers and his current work-in-progress, a meditation on John Brown.

I have seen Scott Shepherd perform many times as a core member in two of my favorite New York theater companies—Elevator Repair Service and The Wooster Group.

“It’s all risk! Living a life is basically about you entering one situation after another that you may or may not want to enter. Everything has stakes, everything has meaning, everything has consequences.” Philip Seymour Hoffman

“I worked at Shepherd-Pratt mental hospital, and I liked to take my name tag off and maybe be confused for one of the patients.”

“This eternity stuff is definitely very important for me. The days are passing, time is running; we will die, everybody has just one life. That’s why it’s very important how this life is going. The quality of this life. We are not in the church, where people are told lies.”

Writer Rachel Kushner examines the lineage of common themes and recurrent imagery in July’s extraordinary body of work.

When British sound artist Kaffe Matthews thinks about sound, she thinks about space, time, travel and radios strapped to bicycles. Her approach to making music is based on sampling her surroundings and capturing their sonic personality.

After nearly 40 years, Marina Abramović’s performances and installations continue to make viewers squirm. Laurie Anderson, an old friend, queries the artist on dreams and Buddhism.

The first work of Janet Cardiff’s I encountered was Whispering Room. I entered a room at the Art Gallery of Ontario where a series of audio speakers mounted on thin metal stands emitted a soft murmur of conversation. 

Marie Howe and I met to talk on a sweltering afternoon in a borrowed New York City apartment. I had sort of known Marie for years.

Avant-garde composer Christian Wolff speaks to ex-Galaxie 500 drummer Damon Krukowski about John Cage, indeterminacy, and the body politic of music and its audience.