Persona

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Adrienne Truscott by Erin Markey
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The performers consider memory, autobiography, and stand-up in Truscott’s groundbreaking comedy about rape, Asking for It, showing this November at NYU’s Skirball Center.

Staring Back, Staring Out: An Interview with Jillian Weise by Jessie Male
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“I originally published this in 2007 thinking, Oh this is a fine book, but I will be joined by a whole lot of amputee writers, and they are going to be here any minute. I’m still waiting.”

Suzanne Bocanegra by John Haskell
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By casting actors to perform as herself, Bocanegra considers “the nature of presentation itself.” Lili Taylor stars in her Farmhouse/Whorehouse at BAM’s Next Wave Festival this December.

Morgan Bassichis by Katherine Brewer Ball
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“What’s the point of being queer, or an artist, or a radical, if you don’t veer?”

Laurie Simmons’s My Art by Judith Hudson
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Taking cinema’s portrayal of artists personally

Portfolio by Suha Traboulsi
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Kassab Bachi, one of the most prolific Arab painters, has never exhibited in the Arts Club of Chicago. Yet three of his drawings were found on the backs of three framed artworks in the club’s storage.

Shana Moulton by Bean Gilsdorf
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“She isn’t all completely me, but somehow she’s a part of me, or some sort of art-making tool.”

Kembra Pfahler by Brienne Walsh
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Kembra Pfahler is a downtown legend: a punk rocker, screen goddess, curator, and performance artist who moved from Los Angeles to the East Village in the early 1980s. Over the course of her time in New York, she’s modeled for Calvin Klein, sang lead in the death punk metal band The Voluptuous Horror of Karen Black, and founded a performance art movement known as “Availabilism.”

Justin Vivian Bond by Joy Episalla
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Bond keeps expanding a performative repertoire that’s equally personal and political. On the occasion of V’s gallery exhibit in London, Episalla queries the self-designated “trans-genre artist.”

Jeremy M. Davies by Scott Esposito
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“A very specific, peculiar sort of universe-in-a-bottle.”

Taylor Mac by Katherine Cooper
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On being an outsider, the nature of authenticity, and the depths of pop-culture.

Routine Spectacles of Andy Kaufman and Stuart Sherman by Michael Smith
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Working at opposite ends of the performing-arts spectrum, both carefully constructed public personae to adapt to and assimilate the culture that formed them. 

K8 Hardy by Ariana Reines
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The obsession with documentation and online sharing might have caused K8 Hardy to press pause on performing, at least for now. Hardy discusses, with poet Raines, the runway show she’s producing for the Whitney Biennial.

Karen Finley Makes Love to New York by Lauren Bakst
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Lauren Bakst reviews performance artist Karen Finley’s Make Love, a post 9/11 cabaret show inspired by the iconic image of Liza Minnelli, but most of all, by New York.

Trajal Harrell’s Twenty Looks or Paris is Burning at the Judson Church (s) by Richard J. Goldstein
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Trajal Harrell’s recent solo performance at the New Museum was organized as a series of “looks” that collided voguing fashion with postmodern regimes, as its title suggests.

Paulina Ołowska: Between the titles, in some third language by Elka Krajewska
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Elka Krajewska on Paulina Ołowska’s rebellious videos and installations.

John Waters by Dennis Cooper
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Nao Bustamente by Coco Fusco
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Without uttering a single word, Bustamante offers an eloquent commentary on the abject dimension of female experience.

Linda Hill by Anney Bonney
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When the curtain rises on writer/performer Linda Hill, the metaphoric veil we call normal awareness goes with it.

Willem Dafoe by Louis Morra
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Willem Dafoe discusses the Wooster Group, Platoon, and the reasons he works in both theater and film.

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