Watching them is like witnessing a birth, yet from a great distance—romanticized, and with none of the bloody details present.
I’m drawn to the body, repelled by the face. I think of Stop and Frisk Watch apps. I think of fear.
Three singers sit on three couches; they each occupy their own. They wear nice fitting clothing in gentle colors and matching mukluks, the kind you can order on Amazon. The couches are in sad shades of brown, and I realize for the first time how
findlay//sandsmark + pettersen offer a bleak take in “o’ death”
Dani Lencioni responds to Angel’s Bone and Dog Days as part of the 2016 Prototype Festival
I spit on your happiness! You are all dogs! D-A-W-G-Z dogs!
One of the great gifts science fiction can give us is the memory of how many times we’ve been spectacularly, beautifully mistaken.
Minor Threats: Chris Thorpe & Rachel Chavkin’s Confirmation at The Invisible Dog, COIL Festival 2016
I haven’t thrown a dildo in the mailbox for Oregon, but I’ve belatedly followed the white militia’s armed occupation of a wildlife refuge and the ensuing conversations around who is labeled a terrorist, and how race and gender – in both sly and slap-you-in-the-face ways
Amelia Parenteau responds to The Spinning Wheel at BRIC.
Anne Waldman gave what felt and looked like a sermon. Meredith Monk exemplified how closely voice and body are connected.
Working with a cast of five young women to reveal the richness of personal identity
A response to The Offending Gesture by Mac Wellman and what makes something ‘work.’