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DEAN MOSS: johnbrown

Thick, white stripes are painted on the black back wall of The Kitchen’s stage—immediately evoking both the American flag and the slats of prison. Dancer Cassie Mey rises silently from her seated post and begins a transfixing, balletic solo.

Singing clear through a forest of signs: On Bill T. Jones’s Story/Time, the performance and the book

However “cool” the form, Jones could never really belong to the rest of the post-structuralist dance scene and its disdain for direct story-telling. The way in which his work drew from real life experience was made all too clear for those looking for conceptualisms.

In Conversation

ENRICO D. WEY with Jaime Shearn Coan

I met Enrico Wey during a heat wave in August 2013. Once we got to talking, Wey mentioned the genesis of his then-current project: a slim book of fragmented prose called água Viva, written by the Brazilian writer Clarice Lispector.

The Knife, The Moon, and The Grace of Jesus

Jodi Melnick appears fragile and harmless, until she wields a knife. Much of “Moment Marigold,” her new work for three dancers that premiered October 8 – 11, proceeds with benign nonchalance.

In Conversation

ROSEANNE SPRADLIN with Siobhan Burke

In my memory of RoseAnne Spradlin’s beginning of something, I am gazing up at four towering women. They are fearless and fearful, shattered and whole, naked and clothed, exhausted and inexhaustible.

Jennifer Monson’s Live Dancing Archive

Jennifer Monson’s most recent iteration of her Live Dancing Archive project (which premiered at New York Live Arts, October 15 – 18) proposes just that: that we should re-imagine an archive as an alive and ever-changing process, rather than merely as a fixed place for the curation of historical objects.


The Brooklyn Rail

NOV 2014

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