Launching this month in Los Angeles, Boss Witch will support site-specific performances in Joshua Tree, Mono Lake, and more.
Fifty years ago, poet Heberto Padilla was forced to publicly denounce himself and his friends as counterrevolutionaries.
Abramović’s interests lie more with perpetuating herself as a product than with what she actually expresses through her art.
For Knight, whose work slyly critiques the raced, gendered, and classed nature of power, a residency at the Kitchen will provide an opportunity to use the empty building as a collaborator.
Inspired by a Selena song, Arisleyda Dilone and Camilo Godoy’s upcoming performance invokes Latinx telenovela scripts, lullabies, and more to explore themes of self-love, longing, and desire.
Maravilla’s efforts, which include raising money and distributing groceries to undocumented communities, are one example of efforts directly addressing communities of color disproportionately impacted by the pandemic.
Sanja Latinović’s “Abandoned” pierces our self-protective veil with a glimpse of COVID’s raw truth.
The artist has been detained over 20 times in two years. But this time, his colleagues on the island mobilized in his defense — and that made all the difference.
A cohort of artists and collectives will have “full transparency into the organization’s inner workings” and control of its annual production budget to pay their own wages and develop programs.
At Performa, Huang Po-Chih and Su Hui-Yu each staged theatrical productions concerning collective mourning and memorialization. Yet while Su built upon his own relationship to a story of loss, Huang seemed to impose himself upon someone else’s.
Nearly five decades since Chris Burden and Marina Abramović began their explorations, an emerging crop of artists are re-envisioning artistic self-harm in both methodology and intent.
How do we analyze the frenetic outbursts at Wednesday’s Congressional hearings through the lens of aesthetic protest.