Though all of Christopher Baker's latest installations rely on clever use of new technologies, there’s something ol >
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For all its media-rich elements, there's an air of the ancient, an uncanny, old-as-time tension between dreaming an >
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Putting the Buzzwords of Engagement Into Motion
Emily Gastineau unpacks the ways BodyCartography Project is using real dance skills of sensing, paying attention, and ex >
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Susannah Schouweiler reports back from her discombobulating, one-on-one performance of "closer" by BodyCartogr >
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Wunderkammer Redux (Or, An Unnatural History)
In the most elegant possible way, Kate Casanova's work across media sets out to make our habits of perceiving the b >
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Artist Aaron Marx offers a dispatch from the first in a series of juried exhibitions planned by Make It Move, a new Minn >
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Kitsch is Dead, Long Live Kitsch
Nathan Young looks into two new bodies of work, by Mathew Zefeldt and Andy Messerschmidt, through the historical lens of >
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FRINGE SHORTS: How Do You See It? by Christopher Watson Dance Company & Jeffrey Peterson Dance
Camille LeFevre reports back from a collection of thoughtful dance performances at the Fringe, choreographed by Christop >
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Camille LeFevre muses on the distinctly Scandinavian architectural and cultural sensibility behind the summer houses fea >
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Brand-free and Iconoclastic: The First Annual "Unbranded" Performances
Theater critic Christy DeSmith offers some reflections on the first annual "Unbranded" performances, which inv >
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Can Art Be a Weapon Against War?: Guerilla Art
Mark Wojahn found "Guerilla Art" to be authentic but spotty, but worth seeing, all in all. >
