I created a page on the menu bar for Tests & Studies. Check back periodically, things will be added to it. And of course, I'll tweet about it now that I've decided to do that more often.
Dearest Mausolea and Cryptos,
June is off to a chilly start here in NYC. I haven't noticed much because I've been spending a lot of time whistling in a graveyard. If you come to Green-Wood Cemetery next weekend you can catch me spooking up the electro-torch-lit mausoleum of a long deceased art collector, brandishing my soundsword enhanced with two more guitar pedals. The raw bass will conduct your bones.
Next month is the Creative Capital retreat at EMPAC in Troy, NY. I have 5 minutes to present aproject I've been working on for a while. Right now it's a novel in its 2nd draft, written over early morning coffee and in nap-time-length chunks over the last year and a half, since I became a dad. On top of that, I've been creating some concept art to go along with it, like the one below.
Temporary Landscapes opening at Abrons Arts Center Jan. 7th 2014, 6pm-8pm.Read More
A couple reviews for my performance of Break In Reverse ZIL Cultural Center in Moscow, along with Jen Rosenblit's performance. I also screened Body Island on one of the evenings. Our evening was part of a short festival curated by Nastya Proshutinskaya. We were awarded one of the last Suitcase Fund travel bursaries from New York Live Arts.
An exhibition of work
by NYFA's 2013 Fellows in Choreography and Architecture/Environmental Structures/Design
At Westbeth Gallery
Friday, August 1, 6PM - 9PM
Performance of Perception's Tyranny
by Dana Bell at 7:30pm
featuring Meg Clixby and Helen Schreiner, with music composed by Richard Hoffman
August 1- August 18, 2014
Location: Westbeth Gallery
55 Bethune St., NY, NY 10014
Gallery Hours: 12:00 - 6:00 PM Wednesday - Sunday
This interview was originally posted on the Degenerate Artstream, then reposted on the Creative Capital Blog, and now here on my website. We discussed, “underworlds, undergrounds, and innerworlds to communicate with what’s been erased, banished, exiled, excluded, hidden, contained.”
This is the best listing I think I'll ever receive. Many thanks to whoever wrote it...
Siobahn Burke of the NY Times wrote a pleasant review of 142241. Read on below.
But perhaps a more in-depth analysis of the work was written by my mother and father, who are probably a lot more familiar with my work since they've been seeing it for nearly 32 years. I've published their emails from the day after below, and some other observations, so People have a sense of the varied impressions others had.
142241 really got to me on a visceral level. Pretty much there is one person, then four people, then two people in the action ... but maybe it's all aspects of the same person. I did feel trapped in your nightmare at the end. ... The soundscape, the visual impressions, the bodies ... Amazing how seamlessly the two complete strangers you picked ... immediately entered into the tone and movement of the piece. I felt frustrated not to see more "beautiful dancing" by you as solo, and you with Max. This is perhaps another function of the piece, more of making the audience feel what your character feels ... the frustration of getting your emotions out there. The end segment was really arresting. You were an unresponsive rag doll that Max was trying to enliven, by gentle means, then by kicks in the ass and gripping of genitals, finally by the classic clown pie-in-the- face, but as with much of your work, this trope got dark and complex pretty fast ... multiple pies, blackface pies, pelting with vegetables and finally the ritual dunking, drowning, cleansing in the aquarium (evoking all sorts of animal associations, including life emerging from the primordial slime). [Your friend] told me after that she saw echoes of your S&M piece with the dominatrix. Your screaming at the end was both profoundly disturbing -- a cry for help and of rage -- and liberating. In this segment, the most disturbing moment, almost, was when Max ripped off your ears. In looking at this piece as a companion to the Daedalus piece ... in that one, you were the Wild Thing, the Little Prince, and it was all fairly lyrical, though you did struggle with physical objects ... with Max ripping off the ears of this darling animal, mutilating him, much violence and loss of innocence was evoked. ... a really fantastic, beautiful and thought-provoking piece.
And my father gave his account:
The doubling theme (which Linda pointed out) is used to express the interior conflict of the single character, the man and his doppelganger, and it's very well done. The piece moved wonderfully through an arc that ends in the character's humiliation and release of pent up rage and frustration. The end is powerful and startling. And the singing and sounds provide a perfect orchestration to the soul wrestling with its demon. I could feels bits of Poe and bits of Kafka in the show.
Others also weighed in.
Haunting, dark, powerful, juicy psyche food. Saw this jawdropping wonderscape with the divine [name omitted] and wish it was on a feedback loop for the rest of my life. [links to NY Times Article]
btw, Arturo's "142241" was SciFi Beuys meets Francis Bacon w/ a David Lynch vibe as told through performance by a hybrid Chaplin/Monk/Wolf. Really great to see live, looking forward to the film which will be in reverse.
an artist you are
Kind of dark.
Happy to announce I'm a New York Foundation for the Arts 2013 Fellowship Award recipient in choreography. Thanks to the panelists, and congrats to all the other recipients.
It bends with the wind but does not break.
The Creative Capital 2013 artist retreat at the end of July was a blast. So many amazing artists presented their work. It was inspiring to see so many making an impact in their communities, or pushing the form to the limit, and beyond. Here's my presentation, featured on the Creative Capital blog:
Next week Body Island will show in the Dublin Fringe Festival, and there will be a talk back session with the dynamic Irish dance duo Fitzgerald&Stapleton at Dance House.
Thanks to Dance Enthusiast for the awesome listing for 142241 coming up in November at Abrons Art Center!
Body Island has been curated into the Alumni II show at Wesleyan University's Zilka Gallery. Organized by guest curator John Ravenal '81 P'15, the Sydney and Frances Lewis Family Curator of Modern and Contemporary Art at the Virginia Museum of Fine Arts in Richmond.
Sept. 6th-Dec. 8th, 2013
Opening on Sept. 10th, 4-6pm
The performance at REVERSE space in Melissa Clarke's show (see previous post). What a great setting for the soundsword and reactive light sculpture. Thanks to the two brave souls who allowed me to lay hands on them and integrate them into the performance.