Artists Reach Out: Michael Maag

Dear friends,

Welcome to Artists Reach Out: reflections in a time of isolation. I dreamed this series of interviews out of grief for my work both as a documenting arts writer and curator of live performance. In this time of social distancing, we are called to responsibly do all we can to safeguard ourselves and our neighbors. It is, literally, a matter of life and death.

But there's no distancing around what we still can share with one another--our experiences, thoughts, wisdom, humor, hearts and spirit. In some ways, there are more opportunities to do so as we pull back from everyday busyness out in the world and have time to honor the call of our inner lives.

So, let me introduce you to some artists I find interesting. I'm glad they're part of our beautiful community, and I'm eager to engage with them again (or for the first time) in years to come.

--Eva Yaa Asantewaa, InfiniteBody

Michael Maag

Michael Maag, a white man,
smiles at the camera with twinkling eyes.
He has white/blond hair with an impressive long beard,
glasses and a light complexion.
(photo: Jenny Graham)

Alice Sheppard, Laurel Lawson, and Michael Maag
sit side by side in their chairs, on gray marley and lit by stage lighting.
Alice is a light skinned Black woman with short curly hair,
Laurel is a white woman with very short silver hair,
and Michael is a white man with long blonde hair
and a flowing white/blonde beard.
They are wearing casual and rehearsal clothing,
and all three are grinning at someone in the audience.
(photo: Chris Cameron/MANCC)

Michael Maag is the video, projection, and lighting designer for Kinetic Light, a project-based ensemble working at the intersections of disability, dance, design, identity, and technology. Maag designs at the intersection of lighting, video, and projection for theater, dance, musicals, opera, and planetariums across the United States. He sculpts with light and shadow to create lighting environments that tell a story, believing that lighting in support of the performance is the key to unlocking our audience’s emotions. Maag has built custom optics for projections in theaters, museums and planetariums; he also designs and builds electronics and lighting for costumes and scenery.

As a wheelchair user, Maag is passionate about bringing the perspective of a disabled artist to technical theater and design. He is currently the Resident Lighting Designer at the Oregon Shakespeare Festival. His designs have been seen on the Festival’s stages for the last 20 years, as well as at Arena Stage, Brooklyn Academy of Music, Seattle Repertory Theatre, Utah Shakespearean Festival, Florida Studio Theatre, and the Henry Hudson Planetary, Albany.

Alice Sheppard, a light-skinned Black woman,
and Laurel Lawson, a white woman, are both in their wheelchairs
with a vibrant multicolor sunset in the background.
Alice is crawling on her forearms with her knees in Laurel's footplate,
and Laurel is arching her back on the ground as she is dragged along the floor.
Alice is exerting effort, and Laurel is in surrender.
(photo: M A N C C / Chris Cameron)

Laurel Lawson, a white woman, is flying in the air
with arms spread wide, wheels spinning,
and supported by Alice Sheppard.
Alice, a light-skinned Black woman,
is lifting from the ground below.
Behind them appear a dark blue sky and mountainscape;
figures appear in the key, bursting with light.
(photo: Jay Newman/BRITT Festival)

Do you have a current or planned project whose progress is affected by the pandemic?

Yes. Like everyone in the entertainment industry, it seems like my work, my art, my life is on hold. I am a member of the project-based disability arts ensemble Kinetic Light and our residency work on a new piece, Wired, has been postponed as have the performance dates at The Shed, though some development and design work has continued remotely. Our piece DESCENT was supposed to perform in Hong Kong in February, and our US dates have been postponed. My work as the Resident Lighting Designer at the Oregon Shakespeare Festival is on pause, as is my mentoring practice with the FAIR Program.

Briefly, tell me about how you got involved in the arts and in your particular practice.

The Theater enticed me into the arts at a young age, and I became a Lighting Designer when I discovered that light communicates emotion directly to the subconscious of the audience. This happened the first time I touched a Lighting Control Panel. At that time, those were enormous panels of levers often labeled with the color of the gel in the lights. I had a dream that night in which the levers were labeled with the emotions the light conveyed. I have been living that dream ever since. My practice is to use light to tell the story, and to immerse the audience (all of them) in the emotional journey.

In a more specific way, what are you practicing? And what are you envisioning?

My practice is collaborative and inclusive. I work with choreographers, directors, scenic and costume designers to create meaningful art. As a disabled artist, I am particularly interested in working from a disabled perspective, with a focus on access. To me, this means two things: to create accessible work for the disabled community that speaks to and reflects their experience, and to welcome the able-bodied into our environment.

At Kinetic Light, we work at the intersection of disability, race and gender. The horrific ongoing systemic racism in this country must end. We must interrogate the origin, meaning and reasons for the societal contracts we have made or have been forced onto us. Those societal contracts that no longer serve must be dismantled. We can come up with a better way to run a “free” society than one that uses principles like democracy and capitalism to perpetuate injustice. It is our job as artists to provide vision, hope and guidance for our society. Most importantly, we must act in an anti-racist, anti-ableist, anti-sexist manner throughout our process.

I envision art that helps our society realize our failures to others and ourselves. I envision art that heals. I envision art that shines.

How does your practice and your visioning align with what you most care about?

I am on a journey, someplace on the road to an inclusive, fair and just practice. In that way I feel like I am in alignment with my dreams. I also feel like I am personally at the bottom of a steep hill and need to keep pushing my wheels up the road to completely inhabit the world I want to see.

My work as a mentor continues with many young lighting designers out in the world. I am embarking on a new fellowship through Kinetic Light to mentor a disabled lighting designer. Even in these pandemic times, we can connect and collaborate.

My practice includes continual learning. I am never bored. There is always something to learn about, or something to be better at.

How does your practice function within the world we have now?

By remotely collaborating, creating and even lighting from a distance, my art is becoming enhanced by better communication skills. At Kinetic Light, we managed to pull off one virtual, remote dance concert by “dancing in place” (you can view that event, hosted by the Rubin Foundation, on their website) and have another scheduled in July. I am spending time learning new tools and creating a library of visuals for Wired. So in a way it is not all that dissimilar to how I normally work; just a lot less time in Technical Rehearsals.

Briefly share one self-care tip that has special meaning to you now.

I’ve been meditating about the meaning of the Japanese word ma and its relevance now. The word means something like space, gap or interval. But, more deeply, it is an awareness of place, a concentration of vision between form and non-form. Here we are in the shadows between structured time. Without these shadows, there can be no awareness of light. Which I guess is a long way of saying pause, create ma, and meditate on something meaningful to you.

******

DISCLAIMER: In addition to my work on InfiniteBody, I serve, at Gibney, as Senior Director of Artist Development and Curation and Editorial Director. The postings on this site are my own and do not necessarily reflect the views, strategies or opinions of Gibney.

******

Subscribe in a reader

Artists Reach Out: Yo-Yo Lin

Dear friends,

Welcome to Artists Reach Out: reflections in a time of isolation. I dreamed this series of interviews out of grief for my work both as a documenting arts writer and curator of live performance. In this time of social distancing, we are called to responsibly do all we can to safeguard ourselves and our neighbors. It is, literally, a matter of life and death.

But there's no distancing around what we still can share with one another--our experiences, thoughts, wisdom, humor, hearts and spirit. In some ways, there are more opportunities to do so as we pull back from everyday busyness out in the world and have time to honor the call of our inner lives.

So, let me introduce you to some artists I find interesting. I'm glad they're part of our beautiful community, and I'm eager to engage with them again (or for the first time) in years to come.

--Eva Yaa Asantewaa, InfiniteBody

Yo-Yo Lin

Yo-Yo Lin
(photo: Zack Filkoff)

Yo-Yo Lin is a Taiwanese-American interdisciplinary media and performance artist who explores the possibilities of human connection in the context of emerging, embodied technologies. Through an on-going exploration into ‘soft’ illness data, body sonification, and impairment-generated dance, she is researching and developing methodologies in reclaiming and processing chronic health trauma. Her latest solo performance the walls of my room are curved premiered last winter at Gibney. Recently, Yo-Yo co-facilitated a four-part movement workshop series “Modes of Embodiment: An Expressive Toolkit for Chronically Ill and Disabled Bodies” at Movement Research. Born and raised in Los Angeles, Yo-Yo now lives and works in New York City. More info at www.yoyolin.com.

Yo-Yo Lin's the walls of my room are curved
(photo: Steve Dabal)

Do you have a current or planned project whose progress is affected by the pandemic?

I had planned on showcasing the performance the walls of my room are curved at two gallery openings this spring, both of which are now postponed indefinitely. the walls of my room are curved is a movement-generated sonic performance of the body living with a connective tissue disorder. The performance uses several microphones attached to my moving body, capturing the live sounds of creaking and crackling bones and joints as they shift, transfer, extend, and rotate. As I dance, an electronic musician samples, processes, synthesizes the sounds of my body into a musical score in real-time. I also have a group show currently up at the Jewish Community Center, entitled Rituals, that is now closed as well. Curated by Ezra Benus, the show addresses living experiences of illness and disability in abstract, ritualistic forms. I had planned on doing a durational performance based off of my data-tracking framework called The Resilience Journal but am now re-imagining it to be done remotely.

Briefly, tell me about how you got involved in the arts and in your particular practice.

I began with drawing and painting, then started making my drawings move. I was interested in moving images as a sculptural element--often taking these moving images and projecting them onto different surfaces. This led me into using real-time technologies--tools that would allow me to live-manipulate the visuals, map them onto 3D shapes, and sync with body movement. Naturally, live performance was the venue for these explorations. I often work collaboratively with musicians, dancers, and other performing artists in turning their visions into reality. As of recent, I’ve been combining my media art based practice with an emerging performance practice. I’ve been doing research into somatics, internal arts (including Tai Chi), and illness/ disability aesthetics in dance.

In a more specific way, what are you practicing? And what are you envisioning?

I am practicing a revealing and re-valuing of realities. Living with an invisibilized illness has prompted me to question the realities of my body in relation to time and space. I am discovering that illness is relativity. Notions of how the ill bodymind can be generative sources for creative expression--in visuals, sound, tactility, shape, space, movement--has coupled with my explorations in time-based media art and technologies, creating works that seek to make the invisibilized not just visible but felt, embodied, and honored in its complexity. These works span from ‘soft’ data visualization to soundscapes made from bone sounds, to impairment-generated dance scores, to extended reality nightlife spaces. These explorations sometimes echo the complicated relationship between the body and technology, often precarious, discomforting, and transformative all at once. But ultimately, these works reveal a yearning for a deeper understanding and vision of the self, reflected back in its wholeness.

How does your practice and your visioning align with what you most care about?

My practice belongs to a lineage of immigrant, ill/ disabled QTPOC womxn artists, all of whom have created art from necessity and with what they had. I find that “necessity” has produced the most honest, provocative art. I have been recently practicing with this idea in mind, unlearning the excess in technology-based art, acquainting myself with my body and the living planet, and holding space for grief and pleasure. I have been doing this not alone but with many others--creating and facilitating spaces for looking inward, safer discussions, and collective growth. Last fall, dancers Lara Marcin, Pelenakeke Brown and I facilitated a four-part movement workshop series entitled, “Modes of Embodiment: An Expressive Toolkit for Chronically Ill and Disabled Bodies” at Movement Research, where we sought to create an access-centered dance-making space. We dream of continuing to create communal space to honor the trauma in the bodyminds we own and building tools and methodologies to do so.

How does your practice function within the world we have now?

My practice continues to function, perhaps ever more urgently, in the world we have now. I see the able-bodied workforce employ techniques that chronically-ill and disabled folks have long asked for and use as a form of access. Suddenly what was deemed “impossible” to do for a disabled person--such as tele-communication, healthcare benefits, paid leave, virtual events--are suddenly possible. I would like to dwell in this reality we live in right now, to hold space for the grief, fear, and anger we feel as chronically-ill and disabled folks in a time where we see ableism in full-force. I also call upon the wisdom we have developed over generations of mutual aid, resilience, and crip magic. For us, illness is nothing new. We’ve been on our own before. In my practice, I hope to further highlight the generative nature of illness by utilizing tools I have to my disposal while in quarantine, and taking this time to rest, listen, and serve the most impacted.

If you can, please donate to: https://www.gofundme.com/f/crip-fund.

******

DISCLAIMER: In addition to my work on InfiniteBody, I serve as Senior Curatorial Director of Gibney. The postings on this site are my own and do not necessarily reflect the views, strategies or opinions of Gibney.

******

Subscribe in a reader

Robert M. Pirsig, 88

Robert M. Pirsig, Author of ‘Zen and the Art of Motorcycle Maintenance,’ Dies at 88
by Paul Vitello, The New York Times, April 24, 2017

Subscribe in a reader

Don Buchla, 79

Don Buchla, Electronic Music Maverick, Dies at 79
by Jon Pareles, The New York Times, September 17, 2016

Being.Here.NOW. with Pat Catterson

Moments of NOW.
(photos courtesy of Pat Catterson)

I love dancers, and I love dancing, and I find it meaningful and beautiful and spiritual.

--Pat Catterson

I do, too. All of the above. And if you feel the same way, you'd likely enjoy NOW., a challenging experiment choreographer Pat Catterson and Paul Galando conducted yesterday at NYU Tisch Dance and New Media, which Galando directs. Aside from being an experiment in bringing ocean-separated dancers together in real time via Skype™, it was simply an afternoon of lovely movement by seventeen skilled and lovely movers spanning time zones.

An audience member could freely move between and sit or stand in two studios--the second one divided into two performance spaces--to watch the simultaneous performances. Studio 1 held several monitors and a wide projection screen, and it hosted a series of solos, group movement sequences and a video of Catterson dancing the material. The spaces on the left and right sides of Studio 2 each had its own screen and hosted a series of duets.

"No one will see everything," Catterson noted. "But everyone will see all the dancers" over seventy minutes or so. "The seams will show. It's technology. The seams are part of the experience."

Technical seams did indeed show but, as far as I could see, not until late in the game with all seventeen dancers waiting to perform together in Studio 1 as present bodies or distant images. But by that time, I suspect, nobody begrudged a few glitches here or there.



In Studio 2, individually-performed duets overlapped in-studio dancers with onscreen folks from places like Buenos Aires and Amsterdam and Tokyo. The design was most often clean, open, like fine, sprightly lines on watercolor paper drawn in a confident hand. The energy was all in those lines, nothing overdramatic or extraneous, although perky playfulness (Aisha in Paris at 6:37; Macy here in New York at 12:37) or watchful curiosity sometimes sparked between duet partners.

In Studio 1, a glance and smile might bridge gaps between dancers of the ensemble. As each of Studio 2's duets concluded or were about to begin, one or another dancer would exit Studio 1's ensemble or return to it, giving a sense of the dance as a sprawling continuum continuously refreshing itself.

"I have an excellent memory, back to when I was three," Catterson said in the post-performance Q&A. "Past, present and future are one. The present is just one thing."

As a watcher, I could create my experience through my own movement in space--from room to room, from standing to sitting. It came to feel as if dance could be an everyday thing going on all day. I could be present for all without tiring.

If Catterson gets her wish, she'll find a museum willing to host NOW., and run it all day. Fingers crossed!

NOW. Dancers:

Irina Baldini (Amsterdam)

Gry Bech-Hanssen (Oslo)

Brynt Beitman (New York)

Mauro Sebastian Cacciatore (Buenos Aires)

Emilia Gasiorek (Copenhagen)

Pierre Guilbault (New York)

Sarah Haarmann (New York)

Gina Ianni (New York)

Tomoko Maeda (Tokyo)

Adele Nickel (New York

Maia Ramnath (New York)

Rodolfo Saraiva (Dortmund)

Sania Strimbakou (Athens)

Macy Sullivan (New York)

Asha Thomas (Paris)

Joshua Tuason (New York)

Maria Uppin (Tallinn)

*****

See NOW. today at noon.
NYU Tisch, 111 Second Avenue, 4th Floor, Manhattan

*****

If you like what you're reading,

subscribe to InfiniteBody!

http://feeds.feedburner.com/Infinitebody

Out and about: Vermont Performance Lab's September festival

Dahlia Nayar
(photo courtesy of Vermont Performance Lab)

Vermont Performance Lab's Progressive Performance Festival (September 4-6) welcomes Lab resident artists Martin Chaput and Martial Chazallon, presenting the US premiere of The Round, "a 90-minute experimental site work that combines movement, media technology, theatricality and sound installation with community involvement."

Audiences members, each equipped with ear-buds and their own smartphone, follow instructions for individual choreographed journeys around downtown Brattleboro. These experiences, the artists suggest, "will interrogate and alter our relationship with a familiar mobile phone technology, raising questions about the uses and potentials implicit in its ubiquitous presence in our lives."

Other festival events include:

Schwanze-Beast by Cuban-American feminist performers Carmelita Tropicana + Ela Troyano--"equal parts performance, scientific lecture and installation...the future becomes a lens through which to examine our present cultural landscape. The status of the animal species and their civil rights is closely tied to climate change and the preservation of all species, as well as class issues, immigration, sexual preference, race and gender."

Dahlia Nayar's dance and sound installation, 2125 Stanley Street, "influenced in part by her experiences growing up outside of Chicago with parents from India and the Philippines."

Vermont Performance Lab is a new type of performance incubator in the foothills of Vermont. VPL takes creation of new work beyond the walls of the studio and into the community by fostering experimental approaches to research and performance.

For a complete description and schedule of VPL's Progressive Performance Festival events, click here.

Museums and data-mining

When the Art Is Watching You
Museums are mining detailed information from visitors, raising questions about the use of Big Data in the arts
by Ellen Gamerman, The Wall Street Journal, December 11, 2014

Otto Piene, 85

Otto Piene, German Artist of New Modes, Dies at 85
by Bruce Weber, The New York Times, July 18, 2014

Michael Jackson not the only "Gloved One." Meet musician Imogen Heap.

These gloves will "change the way we make music," says Imogen Heap
from Dezeen magazine, March 31, 2014

Montclair's Peak Performances: Scottish troupe adapts Woolf's "Orlando"

Judith Williams as Orlando
(photo by Tommy Ga-Ken Wan)

Scottish experimental theater troupe Cryptic, founded and directed by Cathie Boyd, will make its U.S. debut with Darryl Pinckney's music theater adaptation of Virginia Woolf's Orlando, April 10-13, for Montclair State University's Peak Performances series.

Described as “the longest and most charming love letter in literature,” Woolf dedicated Orlando to her friend and lover, Vita Sackville-West, whose fictionalized family history, as well as Sackville-West’s own flexible approach to sexuality and marriage provide the subject matter.

In Cryptic’s magical production, the show’s compression of 400 years of packed events, Orlando’s transformation from man to woman, his multiple costume changes without leaving stage, is courtesy of Living Canvas, an interactive real-time tracking and projection technology. The Cryptic version of the play marks the first time the alchemy of Living Canvas has been applied to theater. Orlando’s escape to Constantinople is made vividly real through the use of Point Cloud Data Imaging that generates 3D depictions of buildings.

Original score composed by Craig Armstrong and Antye Greie aka AGF

The Alexander Kasser Theater
Montclair State University
1 Normal Avenue, Montclair, New Jersey
(Click here for Google Map.)

For complete schedule, ticket and transportation information (including shuttle buses from Manhattan), click here.

Securing New York's hip hop history

Hip-Hop Pioneers Plan a Museum for the Bronx
by Winnie Hu, The New York Times, March 12, 2014

Thomas Dolby to open center for technology in the arts

'She Blinded Me With Science' singer named Hopkins' 1st Homewood professor of the arts
by Mary Carole McCauley, The Baltimore Sun, February 28, 2014

Apply for choreographic commission at Temple University

The Dance Department at Temple University invites choreographers to submit proposals for its 2014 Reflection:Response choreographic commission. THE FUTURE OF THE BODY & DANCE: WITHIN & BEYOND CULTURE, TECHNOLOGY AND NATURE. 

Whether you locate your work in somatic investigation or socio-political inquiry, we welcome dance- makers from all backgrounds. For further information about the Reflection:Response series, this year’s theme, or the proposal guidelines, please see the accompanying sheet.

The Commission Brief:

You are asked to create a new work that speaks to the theme of Reflection:Response/ THE FUTURE OF THE BODY & DANCE: WITHIN & BEYOND CULTURE, TECHNOLOGY AND NATURE that will be presented on October 24 and 25 at 7:30 PM.

Although it is not obligatory, we welcome any opportunities to include Temple students as part of this choreographic commission. Students may be selected through audition and numbers included are entirely at the discretion of the choreographer.

You will be given a $5000 grant and you will have regular access to rehearsal space in Temple University Department of Dance studios throughout June-August 2014. Unfortunately, we are not in a position to offer travel, accommodation or per diem.

You have the option to stage the work in the Conwell Theater at Temple University Main  Campus, or at an alternative site within the Main Campus or North Philadelphia area. We can provide stage management, lighting and sound technicians if you choose to present the work in Conwell Theater. In addition to the performance, you will also be asked to offer a master class and lecture demonstration to students in the Dance Department in mid October 2014.

New this year, we are offering an exciting opportunity to connect with a dance scholar from Boyer College of Music and Dance. A dance scholar/theorist will be assigned to work with the commissioned choreographer in a mutually agreed upon capacity which could range from dramaturgy to writing a critical text on the artist's work. Choreographers should note in the proposal how they might envision working with an author.

Proposal Guidelines: 

Please submit a 2-page application as an email attachment (with your full name in the subject heading) that states:

    Name, address, telephone and e-mail address 

    A short performance biography 

    A brief description of the artistic aims of your proposed work with a clear articulation of how it speaks to the theme of Reflection: Response/ THE FUTURE OF THE BODY & DANCE: WITHIN & BEYOND CULTURE, TECHNOLOGY AND NATURE 

    A brief description of how you might envision working with an author. 

    A breakdown of your budget (include expenses and projected income) 

    Anticipated technical requirements 

In addition to the written application, you are asked to provide a 5-minute sample of your work (please send a link to You Tube or Vimeo - No DVDs) with a brief statement outlining why you would like us to look at this particular section (150-word max). 

Deadline for proposals: MARCH 24, 2014 

Please send your proposal to:

Julie B. Johnson: reflectionresponse@gmail.com 

Please note that the Selection Committee will meet to review applications in mid-April and you will be notified about the outcome of your application by: April 28, 2014. 

2014 Reflection:Response

Merián Soto, Committee Chair

Julie B. Johnson, Graduate Assistant 

Please send any questions to reflectionresponse@gmail.com
-- 
Merián Soto, Professor 
Esther Boyer College of Music & Dance 
Temple University

Help improve Wikipedia's articles on women artists and feminist art

Siân Evans is is organizing an Art and Feminism Wikipedia Edit-a-thon at New York's Eyebeam Art + Technology Center on February 1, 2014. She needs help identifying women artists/feminist artists that should be included on Wikipedia or have their Wikipedia pages improved.

Evans writes:

I need your help! In your research and instruction have you come across Wikipedia articles on women artists/feminist artists that are woefully lacking? Do you have any interest in organizing a satellite event on February 1st at your institution? Here’s what we need to get started:

· Suggested Topics (we’d like to focus on 20th/21st century art but are open to other suggestions, including related to art and technology)

· Articles needing creation

· Articles needing expansion and/or cleanup

· Suggestions for research materials

Alternatively, if you’re interested in hosting a satellite event, please also be in touch. You can reach us at artandfeminismwiki@gmail.com.

You can find more information about the event (including locations of other satellite events, like that being held at National Museum of Women in the Arts in Washington DC) at our Meet-up page (click here) or on Tumblr (click here).

Who--or WTF--is ETLE?

I found this in my inbox today.

It's more than a little unnerving. Truthfully, I don't know what to make of it.

Maybe you do...?

Feel compelled to figure this out? Click here.

Call for applications: Fall Movement at Center For Performance Research

Applications for 

CPR Presents: Fall Movement 

(November 7-9)

Center For Performance Research (CPR) invites applications from artists working within the various aspects of dance and performance as well as unique collaborations with the technological and visual art world to apply to present their work at CPR Presents: Fall Movement November 7-9, 2013.

DEADLINE: Monday, September 9, 6pm

For more information, click here.

Guillermo Bert: weaving tradition and technology

What’s a QR Code Doing on That Blanket?
Artist Guillermo Bert is weaving together technology and Native American tradition
by Maggie Ryan Sandford, Smithsonian magazine, July-August 2013

Rhizome: where art meets tech

Artists and Technologists Team Up for Rhizome Event
by Randy Kennedy, The New York Times, April 3, 2012

Meetup group hosts panel on arts blogging

State of Art Blogging Panel - Arts, Culture and Technology (New York, NY) - Meetup

Thursday, March 29, 7pm

This month ArtsTech is proud to welcome Hrag Vartanian of Hyperallergic.com as co-organizer and moderator of a panel examining the current state of art blogging. Together we've assembled a diverse group representing today's top art bloggers — ranging from the scrappy, indie blog to institutional and news sites. They'll discuss the current landscape of contemporary art criticism on the Internet and the challenges and opportunities art bloggers face today.

Learn more here.

Dance folks are talking...or should be

APAP Preview: Ten Things the Dance Field Should Be Talking About in 2012
by Marc Kirschner, TenduTV, January 5, 2012