Recipient of a 2014-15 Pollock-Krasner Foundation Grant, Danielle Eubank paints bodies of water. She also paints water as if it were a body. The way light plays on its surface, the way it reveals its depths to show actual and emotional ripples.
I'm often amused by the random juxtaposition of shows I attend from one night to the next. One could hardly position two American musicals that differ quite as much in their performance history, style, and appeal than the two I saw in back-to-back performances a few months ago.
Great trilogies come in threes.
In a bit of revisionist history, the garden at the Frick Collection designed by the world famous British landscape architect Russell Page (1906-1985) and once hailed by the New York Times as one of his "most important works," has been downgraded by museum officials to nothing more than an interim land use.
Having gone through several music programs and with friends still attending music programs, I can tell you that these ranking systems absolutely fail to address what is important as a developing musician seeking to make a career as a performer.
Could he now be considered part of art history? Or would he start to mean less to the general public and the street art community? I hope not.
Artist JeanPaul Mallozzi, a native of New York City now working in Miami, is a kind of psychic Surrealist who creates dreamlike personal narratives that attempt to glimpse his subject's psyches. Entrancing, memorable and unnerving, Mallozzi's works are uncannily emotional.
Wendy Whelan, the much beloved principal dancer for New York City Ballet, is already a legend. Her career has spanned an astonishing 29 years during which she has done pretty much everything imaginable.
This week features Bob Ezrin, one of the most commercially successful producers of all time. He's worked with many of the world's most important contemporary artists.
In this conversation, Dr. Hank Hine, Executive Director at The Dali Museum talks to us about Marvels of Illusion and how scientific developments influenced Dali's work.
"We really follow the leads of the artists we admire and love, and we trust them. I'm most excited by a producing system that puts artists at the center."
Hungarian writer Katalin Mezey and I talked about her memories of 1956, her trade union activities, and how the republic of writers has dealt with the issue of collaboration during the Communist years.
If you tend to think of playwright Naomi Wallace as compulsively pretentious--I do--be advised that And I and Silence, the title of her recent work, now at The Pershing Square Signature Center, won't go a long way toward disabusing you of the notion.
Anyone who cares about contemporary art and is in New York City should certainly visit the Whitney Museum's current Jeff Koons retrospective. I went with low expectations, thinking I'd seen it all before. But I'm delighted to report that there is a lot to learn and enjoy in this retrospective.
I was intrigued when I recently read about Dendy's new dance-play, Labyrinth -- in particular, how it compared and contrasted to his earlier piece. Reading about it took me back to the brief time I spent with him, and I was eager to find out how his life and career had evolved.
"It wasn't only about me. It was a moment, when a line had to held when you could not conceive the fight", says the author of The Satanic Verses, Salman Rusdie, in this outtake from a longer interview about his life and work.