Year: 2012
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Re-Framing The Critic for the 21st Century: Dramaturgy, Advocacy and Engagement
Culturebot’s Andrew Horwitz proposes a new framework for the critic in the emerging arts landscape and how that new role can facilitate change and innovation sector-wide.
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Iver Findlay talks about “fractured bones/let’s get lost” at Performing Garage
An interview with Iver Findlay about “fractured bones/ let’s get lost,” a new work from Findlay//Sandsmark in collaboration with Eric Dyer of Radiohole and video game modder Victor E. Morales
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Contemporary Dance Is Not Stripping
Or, Alastair Macaulay should try thinking above the belt from time to time.
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A Few Thoughts on Art As a Lived Experience
What a poor self-initiated restoration job undertaken by an old Spanish woman can tell us about art as a vital part of our daily lives
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Culturebot Needs an Editorial Intern
We’re looking for just the right person to help us this fall as we move into the next phase of our organizational development
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High Class Culture All Over the Place!
A new Bravo reality show about wannabe gallerists invites the art world to firmly turn the Gaze toward its own navel
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Serious Arts Criticism, or, The Curse of Black, Licorice-Flavored Jelly Beans
Parsing Richard Dare’s well-reasoned rant on HuffPo to get to the nitty-gritty of what he really means: That art is like black jelly beans no one wants to eat like vegetables except that vegetables are good for you and art’s not but should be like broccoli instead
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The Bessies Respond to Criticism
Lucy Sexton responds to Gia Kourlas–and the field’s–critique of this year’s Bessie categories, but fails to grapple with the root cause
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“At the Performance End of the Dance Spectrum” [Updated]
This year’s Bessie nominees–and the torturous categories into which they’ve been placed
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Erin Leddy Talks About “My Mind Is Like an Open Meadow”
One of the core members of Portland’s Hand2Mouth discusses creating a performance-memoir of her grandmother’s life, playing at 59E59 Theaters this month