Rachel Aranda works in Madhattan, lives in Queens, and worries her radio always needs new batteries.
When I finish a chart, I feel a great sense of closure that dance never gives. Because in dance there are so many mitigating factors for anyone to see your work and for the work to be seen as it was intended to be performed: a dancer can be injured, a dancer can turn away from your work, a new production is usually out of reach, things can go wrong on any given night and make the piece not the piece, the house can be empty, the house can be full, the tickets are priced out of reach of your audience, etc.
Although “powerful comedian” may be an oxymoron, if what you’re looking to do is throw a frame around questions of agency, the individual relation to power, the ability to impact environment and control experience, then comedy is a good way -- maybe even the best way -- to achieve that end.
A lot of this new work has been made or conceived by the idea of escape...This past June I found a great spot in Costa Rica. I Airbnb'd a little spot 100 meters off the coast and made my little beach shanty Studio. For the next 30 days I was drawing everyday at the beach 8-12 hours with a few dips in the ocean.
Jessy Randall, 46, has had diagram poems, poetry comics, and other things in "Poetry," "Story," and "The Best Experimental Writing 2015"; Briget Heidmous, 27, is a multi-media visual artist exploring the principles of ecology employing scale as illusion. Her work has been in solo exhibitions at the Manitou Art Center and The Machine Shop, where she was artist in residence in 2014.
Enjoy the 10 most compelling images from a year with our gritty and beloved mascots of Times Square. Pics by the one and only Donnie Boman!
The story of the First Thanksgiving seems so innocent and hopeful… so what on earth happened at that Second Thanksgiving to make it all go wrong?
The separation of dance and theater- this is a life long irritant for me! In my personal and very subjective time line, the distrust in Western theater of dance all began post-18th c. Since then, we audience(s) have been increasingly subjected to mind-numbing, un-ironic, unambiguous “reality” on stage.
For me all art is contemporary art. From Cave Painting to now; it's all in play everywhere at the same time. I think that our current teleological system of art history based on progress and art is mainly measured by formal moves "forward" via techniques, tools, etc. This system is already dead; it just doesn't know it.
I think about my own modern dressing, about the overalls my mother gave me when I was the same age as the boy in the painting. The metal hook-and-closures were easy, accessible to my tiny hands and their limited fine motor skills. I handed them down to my brother, who is three years my junior. Much of what we wore couldn’t be categorized by gender. They were garments intended for transfer.
Being a woman in any industry is tough, especially one that is typically dominated by men, like comics. Last year the Angloueme Comics Festival in France made a list of 30 "lifetime achievement" cartoonists which didn't include a single woman. On the extreme end you have to worry if the male strangers who are super-involved in your social media are stalking you, on the low end you have to hear your work compared to that show "Girls."
It's the Fourth of July, and America is throwing herself a birthday party. Fresh off of Brexit, Britain shows up unexpectedly. They're exes. It's awkward.
I keep writing/ wish you were here/ but it fails to communicate/ all the places/ I wish you were.
Creative Fundraising Ideas for Public Libraries!
DISCO into the ABYSS-O | art rock disco dance party | starring... GUITARING: Gilmore Tamny | DANCING: Liz Roncka | BEATZ: Jef Czekaj | VIDEOGRAPHY: George Luke
A sound/video/performance collaboration
I read dozens of year-end book lists in December, which forced me to reflect on my own, odd year of reading – odd in that nearly every book I read prompted me to watch corresponding video on YouTube.
I'm a Girl
You can park your spaceship here is an experiment with counter-information and imaginary commands in response to the rules and restrictions of uses at Washington Square Park in New York City.
A midwestern noir of murder, marriage and aerobic fitness performed in front of a live audience.
I had tapped into a secret that the aforementioned artists had stashed away: the best place to find beautiful old paper was in beautiful old books.
Santa likes to make things by hand and is the ultimate crunchy-granola. He lives at the North Pole (the axis mundi), communes with flying reindeer (mushroom junkies), and works with magical elves (creators of language) to bestow gifts of liberation to those who are pure in heart. Santa sees the world through honey comb specs which are a secret tool for weighing the heart(s) of humanity. Chimneys are his preferred portal to distribute the sacrament for trans-dimensional travel. Cookies are strange attractors at the end of time. In the off season, Santa hangs up his red suit to don an electric blue fur and moonlights as Cookie Monster in a state of eye rolling ecstasy.
What do you mean there's no more brontosaurus?!
Not relying on interviews or talking heads, the film is ultimately an intimate meditation on life in the theater – communicating more through image, mood and sound rather than explicit narrative, revealing performers in transitional states – somewhere between themselves and the characters they inhabit onstage.
Gilmore began her daily drawing project in 2012.