Critical Correspondence
Critical Correspondence: Dance and the Museum
In 2013, Critical Correspondence initiated a project dedicated to the examination of dance in the museum today–its politics, economics, and aesthetics. Acknowledging a long history of cross-pollination between dance and the visual arts–some driven by artists, some by institutions–our hope is to create a forum, based in a dance institution, for the voices of those […]
Lise Soskolne of W.A.G.E. in Conversation with Abigail Levine
This past winter I met with Lise Soskolne, core organizer for W.A.G.E. (Working Artists and the Greater Economy). W.A.G.E. is “a New York-based activist organization focused on regulating the payment of artist fees by nonprofit art institutions, and establishing a sustainable labor relation between artists and the institutions that subcontract their labor.” I got […]
Elsewhere: Randy Martin on Performing the Changing City
“But surely moving through disequilibrium and divining ways through spaces made for infinite possibility are what dance does best.” – Randy Martin, A Precarious Dance, a Derivative Sociality The dance community suffered a significant loss with the passing of Randy Martin on January 28, 2015. Randy was a brilliant thinker, a passionate dancer and […]
Charles Aubin in Conversation with Abigail Levine
Curator and performance scholar Charles Aubin discusses his work at Paris’s Centre Pompidou and New York’s Performa Biennial, focusing on the current interest in live art and performing arts curation, particularly within the context of visual art institutions. Aubin addresses the differences in curatorial strategies in a yearlong programming calendar versus a biennial, the funding […]
Paloma McGregor in Conversation with Abigail Levine
While attending and dancing in Ishmael Houston-Jones’s 2012 Danspace Project platform series Parallels, artist-activist Paloma McGregor began to think about the lack of experimental forums in which Black dance artists were well-represented. How had the idea of artistic experimentation and radicality become tied to White culture? And untied from Black culture? Were critics and presenters […]
Richard Move in conversation with Abigail Levine
In 1996, five years after Martha Graham’s death, Richard Move began summoning her to the stage, using his own body as the medium for her performance. Move refers to the dances he performs as Graham’s works, although he has always engaged in a process of “de-reconstruction” of the choreography, making them his own creations as […]
