Debuting May 1, McKenzie’s Disturbing the View takes its inspiration from New York’s “squeegee men.”
“EVERYONE WAS INVITED” promises a heartfelt celebration and opportunity to get to know this under-sung yet influential artist.
On Sunday April 11, Patrisse Cullors will be restaging “F*ck White Supremacy, Let’s Get Free” online for a global audience.
Suzanne Lacy and her students suggest that screens can help us become more empathetic and aware of “each other’s practices, and realities.”
HaRaKa Platform’s Cairo KitKat Club pales in comparison to virtual performances mounted with only a fraction of the institutional support.”
The 8-hour online program will debut new works, reimaginings, and collaborations by artists such as Yvonne Rainer, Glenn Kaino, Barbara Kruger, and the WideAwakes.
Starting at Seneca Village and ending at the Manhattan Trump Hotel, artist Dragonfly honored the legacy of Ona Maria Judge Staines, who escaped from George and Martha Washington’s enslavement.
From sunrise to sunset, the Afield will present a new multimedia performance which mines the details and redactions of the Mueller report.
In Fire Season, Monica Miklas invites you to the remnants of Western Town, a faux Wild West village formerly nestled in the Santa Monica Mountains.
No one was as successful at impersonation and forgery as William Ellsworth Robinson, nor has anyone failed as spectacularly.
Having now announced it will close on March 15 (earlier than expected), we might look at exactly why The Inheritance failed to connect with New York audiences.
These plays depict a reality that seems familiar and plausible yet feels dreamlike, monumental, and mythical.