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  • Look at her. Return her gaze. It’s difficult, in fact, to look away, so intriguing are the possibilities for narrative and discourse layered into her image. Swathed in tufts of tulle, netting, and feathers, her chestnut hair cascading over the ruffled material, the young woman stares out from beneath a wave of white feathers cresting over her head— immobile, captured, in repose and yet resolute. Highly composed yet enticingly unconstructed, the image conveys a liminal state of being in which…
  • Look at her. Return her gaze. It’s difficult, in fact, to look away, so intriguing are the possibilities for narrative and discourse layered into her image. Swathed in tufts of tulle, netting, and feathers, her chestnut hair cascading over the ruffled material, the young woman stares out from beneath a wave of white feathers cresting over her head— immobile, captured, in repose and yet resolute. Highly composed yet enticingly unconstructed, the image conveys a liminal state of being in which…
  • "Everyone exit but KVL," calmly intoned the voice, as audience members took their seats on the Cowles Center’s stage. The chairs were lined up in a hexagonal shape, offering the prospect of multiple vantage points from which to view Still Life for the Cowles Center, the latest iteration in Morgan Thorson’s ongoing Still Life project. The voice also issued platitudes, recommendations, instructions; named ballet terms; and asked questions, while lighting designer Lenore Doxsee’s circle of l…
  • When does a ragged leotard become a work of art? A silver mylar balloon? An inflated plastic box? A freestanding industrial floor fan? When they were created or re-contextualized by visual artists Robert Rauschenberg, Andy Warhol, Jasper Johns and Bruce Nauman, respectively. Moreover, they become works of art as a costume or an element of décor created independently of, but for the sake of one of Merce Cunningham’s dances. Finally, they are elevated as such when they’re included as elements…
  • "To be abstracted is to be at some distance from the material world. It is a form of local exaltation but also, sometimes, of disorientation, even disturbance. Art at its most powerful can induce such a state, art without literal content perhaps most potently. Agnes Martin, one of the most esteemed abstract painters of the second half of the twentieth century, expressed—and, at times, dwelled in—the most extreme forms of abstraction: pure, silencing, enveloping, and upending."        …
  • "To be abstracted is to be at some distance from the material world. It is a form of local exaltation but also, sometimes, of disorientation, even disturbance. Art at its most powerful can induce such a state, art without literal content perhaps most potently. Agnes Martin, one of the most esteemed abstract painters of the second half of the twentieth century, expressed—and, at times, dwelled in—the most extreme forms of abstraction: pure, silencing, enveloping, and upending."        …
  • When considering art and nature, invariably the large-scale land art or earth works of American sculptors such as Robert Smithson (Spiral Jetty) and Michael Heizer (Double Negative and City) come to mind: enormous monuments requiring earth-moving equipment, years of toil, and a hubristic interventionist approach to reach completion, forever changing the landscape in the process. Or, one thinks of British sculptor Andy Goldsworthy’s more ephemeral and collaborative approaches to outdoor sculptu…
  • When considering art and nature, invariably the large-scale land art or earth works of American sculptors such as Robert Smithson (Spiral Jetty) and Michael Heizer (Double Negative and City) come to mind: enormous monuments requiring earth-moving equipment, years of toil, and a hubristic interventionist approach to reach completion, forever changing the landscape in the process. Or, one thinks of British sculptor Andy Goldsworthy’s more ephemeral and collaborative approaches to outdoor sculptu…
  • As someone who has written reams (much of it never published) on site-specific performance (dance, in particular); who has witnessed and participated in and analyzed site-specific dances performed in a spectrum of locations from the woods at Jacob’s Pillow in Massachusetts to grain silos in Minneapolis to drainage ditches and historic hotels in Los Angeles; and who ached to see Punchdrunk’s Sleep No More during its New York engagement last year (but didn’t), Combustible Company’s Bluebea…
  • As someone who has written reams (much of it never published) on site-specific performance (dance, in particular); who has witnessed and participated in and analyzed site-specific dances performed in a spectrum of locations from the woods at Jacob’s Pillow in Massachusetts to grain silos in Minneapolis to drainage ditches and historic hotels in Los Angeles; and who ached to see Punchdrunk’s Sleep No More during its New York engagement last year (but didn’t), Combustible Company’s Bluebea…