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Claudia La RoccoCLAUDIA LA ROCCO writes about performance for the New York Times and is the founder of thePerformanceClub.org, which won a 2011 Arts Writers Grant. She is a member of Off The Park press, where she is editing an anthology of poems by painters. She is on the faculty of the School of Visual Art's graduate program in Art Criticism and Writing.
RECOMMENDED ARTICLES
Whitney Biennial 2022: Quiet as It’s Kept
By Charles SchultzMAY 2022 | ArtSeen
You either start in darkness, or you start in the light. One is not better than the other, but the choice is the first one that affects your experience of the Whitney Biennial. The show spreads out across multiple floors, but it mainly takes place on two: one is designed like a labyrinth, the other as an open field. It’s a dramatic shift. In the labyrinth your eyes can’t travel far; in the open field there is almost nothing to stop them.
Paul McCarthy: A&E
By Donatien GrauOCT 2022 | ArtSeen
The series of performances titled A&E was the first half of a European program that brought McCarthy and Lilith Stangenberg first to the SchauSpielHaus in Hamburg for five nights in a row and then to the Volkstheater in Vienna for four nights.
Stanley Whitney: TwentyTwenty
By Amanda Millet-SorsaDEC 21-JAN 22 | ArtSeen
Stanley Whitney’s recent exhibit of new paintings presents his lifelong exploration of an endless oasis of color.
21. 1954-1963, Los Angeles
By Raphael RubinsteinOCT 2022 | The Miraculous
In the mid-1950s, a youthful singer becomes a sensation in Los Angeles’s Mexican-American community for his energetic R&B performances. Switching effortlessly between English and Spanish, he appeals especially to young girls who flock to his performances at the El Monte Legion Stadium, a venue conveniently located just outside the LA city limits and thus not subject to the city’s restrictive racist regulations.
