Paul Chan, an artist who, on the occasion of the publication of his book Waiting for Godot in New Orleans: A Field Guide (Creative Time Books) and the premiere of the Godot archive at the Museum of Modern Art in New York (June 30, 2010September 12, 2011), spends a hot afternoon talking to Claudia La Rocco.
This is visual art were talking about, period, Ms. Spector said. Tino made that distinction. Either you respect it or you dont. It makes perfect sense to many of us.'
Thanks, everyone, for coming. Youre all sitting down so nicely for this lecture, which is a lecture in 10 sectionsor, more accurately, a rough draft of a lecture, with you all as my test audience.
Ive always thought that almost anything anybody needed to know about criticism was hidden (in plain sight) in Jill Johnstons Marmalade Me. Writing in the 1960s about art that was changing what the world thought art could be, she changed what we thought criticism could beand that was just her warm up.
Tibor de Nagy Gallery September 4October 4, 2008
There is always the question, when looking at a minor body of work produced by someone who has mastered another form: Would this captivate, if made by an unknown artist?
I’ve been thinking and thinking how to answer your impossible prompt. How to talk about a place, or even know what a place is, in 2017, and then to further isolate what it might produce? Especially considering I only moved to this place in 2016.
While back in New York to teach a workshop and perform at the Baryshnikov Arts Center, Simone Forti invited Editor-at-Large Claudia La Rocco to her former SoHo loft to talk about her life as a choreographer, dancer and writer.
Brandon Collwes, Dylan Crossman, Julie Cunningham, Emma Desjardins, Jennifer Goggans, John Hinrichs, Daniel Madoff, Rashaun Mitchell, Marcie Munnerlyn, Krista Nelson, Silas Riener, Jamie Scott, Robert Swinston, Melissa Toogood, Andrea Weber: those are all of them, the very last of the Mohicans.
During her recent artist residency at Arizona State University, Claudia La Rocco interviewed the German choreographer Thomas Lehmen, who is a clinical professor in the School of Dance. They spoke in his garden in Tempe, Arizona.
What does choreography look like on the page? The question came out of an email exchange with Aynsley Vandenbroucke, who suggested I see about answering it here.
This time last year, I was writing an introductory editors note to this section.
With found language from Rashaun Mitchell and Silas Riener, while watching and sometimes helping them make something that will eventually become Way In, a quartet with Davison Scandrett and La Rocco that is to have its premiere November 14 at Danspace Project.
In her delightful memoir, Dancing with Cuba, Alma Guillermoprieto remembers her first years spent dancing in New York, including early morning practices of Twyla Tharps Medley on Central Parks Great Lawn.
Hi Everyone. This is my first month as the Rails dance editor. I was going to write one of those letters about how excited I am about this (which is true), and how I have all these ideas for making the section into a vibrant, artistic space (also true, but, honestly, letters like that always kind of irritate me, especially when Im the one writing them).
Claudia La Rocco ventured from Brooklyn to Long Island City, Queens, where the video and dance artist Brian Rogers is the founding artistic director of the interdisciplinary Chocolate Factory Theater. They were joined briefly by his partner-in-crime, executive director Sheila Lewandowski.
I cant remember when I fell in love with the Merce Cunningham Dance Company.
I could reach up and touch the razor burn on Luciana Achugars inner thigh. Eleanor Hullihans extended foot swept past my face, close enough for me to see a few unraveling strands of tape on one bandaged, dirty toe. Then she was gone, straddling me and hurtling backwards with startling speed.
A splendid romp with dancers sprinting diagonals across the stage, arms pumping, Esplanade, in all its gleeful abandon and racing-hearts-of-first-love ebullience, manages to make the simplest of movements running, skipping, walking, jumping virtuosic modern dance, seminal in its declaration that yes, all this too can be dance.
For her recent evening-length work, Skint, Caitlin Cook reassembled The Kitchen’s bleacher seating into a sort of balcony so that, at least for those of us in the front and center. ...
Shards of almost-familiar music embedded in sonic dissonance.
Six nights, 30 companies, $10 a pop: Earlier this year, City Center offered dance lovers a feast with the Fall for Dance Festival. Anyone who has calculated the median age of audience members at the citys larger dance theaters (or of the reviewers, for that matter) can tell you that the dance world is desperate for new blood.
Theaters acquire energies in keeping with what goes on in them. The Brooklyn Academy of Music (BAM), with its penchant for the European spectacle, contains a jazzier buzz than the (sadly) staid Joyce, while the renovated Dance Theater Workshop (DTW) is too new for any real aura.
A dancer slides onto canvas, propelling herself diagonally across the stage in arcs and circles, an ecstasy of release from the structured restraint that has held her thus far.
While back in New York in between tour stops, Merce Cunningham Dance Company members Rashaun Mitchell and Silas Riener sat down with Claudia La Rocco in Rieners Manhattan apartment to talk about life with and after Cunninghamand his company.