Remembering, and Reviving, the Work of Jim Neu
20 years after its premiere and 5 years after its author’s death, an intergeneration collaboration seeks to reintroduce the work of a downtown legend
All posts by Jeremy M. Barker
Photography as Multiplier of Atrocity
Sibyl Kempson discusses photography as activism and voyeurism in her new play “Let Us Now Praise Susan Sontag”
Imagining Warhol Imagining Broadway
In “Andy Warhol’s 15 (Color Me, Warhol),” director/choreographer Raja Feather Kelly offers up Andy Warhol’s take on “A Chorus Line”
Dan Safer On Interpreting Charles Mee
The director of Witness Relocation discusses staging an odyssey through a yard-sale in their third production of a new play by Charles Mee
Aya Ogawa Discusses “Ludic Proxy,” the Latest From the Play Co.
Video games as virtual disaster tourism and the liberation of memory in Ogawa’s latest play
My Barbarian: Between the Black Box and the White Cube
What happens when theater provocateurs in the art world return to the theater?
“I Feel Like I’m Always Talking About Rape”
The performance artist and comedian discusses her transgressive stand-up routine reclaiming the “rape joke”
Andrew Schneider on “YOUARENOWHERE” at COIL 2015
A lesson in quantum mechanics with a detour through Craigslist’s Missed Connections
Culturebot’s Ultimate Real-Time January Festival Live-Blog
Welcome to Culturebot’s resource page for news and responses on Under the Radar, COIL, AR, Prototype, APAP, and showcases from your trusty correspondents
Moscow’s Teatr.doc Raided By Police For Screening Ukraine Documentary (Updated)
Moscow’s Teatr.doc , an independent theater and art space, is raided in a heavy-handed police action for showing documentary about Ukraine conflict
Returning to Live Performance After a Decade
Performance-maker Andrea Kleine returns after a ten-year hiatus with a piece inspired by a tendentious 1977 on-air interview with Yvonne Rainer
Chatting With Andy Field, Co-Director of the Forest Fringe
“I kind of see the Edinburgh Fringe Festival as the hideous and perfect mirror of late globalized capitalism,” the British artist Andy Field told me in a recent Skype conversation. “It’s nominally open and democratic—anyone can participate in it—but there are so many barriers to