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.
Burning Man is not a "festival." Festivals are basically big parties, put on (usually for profit) by organizers, which customers come to visit. Burning Man is a participant-created community experience, coordinated by a non-profit, that is about radical self-expression in all its forms.
My reactions to the HBO film of The Normal Heart are not much different from my reactions to the play. At what point do we begin to question the great and powerful Larry Kramer on his saying of TNH: "this is our history"?
"Music has kept me alive," confirmed Henry Meyer, who played violin and cymbals in the Birkenau Men's Camp Orchestra. "There is no doubt about it."
Tank Burt is no stranger to the intimacy of the unsaid. As a director she's been honing her craft with shorts like Skateboard, Skateboard, a coming-of-age story told virtually without dialogue, and now she's made her feature debut as an actress.
Brill Bruisers sounds broad and warm, wrapping from ear to ear and giving shine to 13 songs that experiment with new sounds and instruments -- some of which are jarringly unfamiliar even after several listens.
Her work is infused with the concerns of the outsider, the downtrodden, the marginalized and the oppressed. War, social justice and a call for an acknowledgement of the world's ills permeate her material.
DaLuz tries to ease the rift between post modern concepts and classical technique into one current of human endeavor, a desire to express that which is just beyond our grasp.
The New York International Fringe Festival this summer includes a new opera by Matthew Zachary Johnson: The Boston Tea Party Opera. This show marks a new direction in his work. Johnson is the composer of a body of often-performed classical saxophone works.
In this, our second conversation, Paul Holdengräber of the New York Public Library claims that good conversation can leave one "hopeful about the possibility of speech." As one of the world's leading conversationalists, he would know.
Cabaret is alive and not quite yet reduced to gasping for breath in New York City.
A Most Wanted Man is adapted from the John Le Carre novel and it's almost impossible to parse the numerous moral dilemmas that the movie poses amidst the fog of smoke.
In her valuable new book, Reading Writing Interfaces: from the Digital to the Bookbound, Lori Emerson asks us to reconsider the inevitability and desirability of the "invisible" computer interface.
Despite the popularity and convenience of the Kindle, there is still a demand and desire for the physical book.
It is radical for an artist who was at the forefront of the plastic movement in the 1960s, ahead of the semiotic curve in dioramas in the 1970s, and breaking ground in abstract painting in the 1990s, to make a 180-degree return to representational painting after 2000.
It's tempting to paraphrase George Orwell by stating that "All artists are equal, but some artists are more equal than others."