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.
“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.”
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.
“What’s the point of being queer, or an artist, or a radical, if you don’t veer?”
Taking cinema’s portrayal of artists personally
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.
“She isn’t all completely me, but somehow she’s a part of me, or some sort of art-making tool.”
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.”
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.”
“A very specific, peculiar sort of universe-in-a-bottle.”
On being an outsider, the nature of authenticity, and the depths of pop-culture.
Working at opposite ends of the performing-arts spectrum, both carefully constructed public personae to adapt to and assimilate the culture that formed them.
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.
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 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.
Elka Krajewska on Paulina Ołowska’s rebellious videos and installations.
Without uttering a single word, Bustamante offers an eloquent commentary on the abject dimension of female experience.
When the curtain rises on writer/performer Linda Hill, the metaphoric veil we call normal awareness goes with it.