Simon Garfield’s tour of fonts, Just My Type, is a rollicking, sometimes snarky social history of the design decisions behind lettering from Gutenberg to the iPad.
The new documentary,
Mar 192012
Literally seating himself under a spotlight at the center of the stage, celebrated choreographer Bill T. Jones indulged in a celebrity interview with himself, sharing moving and mundane autobiographical anecdotes while his company danced in abstract arrangements around his desk for exactly 70 minutes.
When the Boston Jewish Music Festival presented a special afternoon of Lazar Weiner’s Yiddish Art Songs, it became clear that it’s time for a reappraisal that will bring these small, intense gems back into broader musical circulation.
“69°S” takes risks that never put actual life or limb in danger, but under the static of snow and history, we learn that venturing to the edge is always a kind of art.
Adrienne Cooper’s strong voice –- musically, linguistically and as a vibrant feminist presence –- shaped the revival of klezmer music in the 1980s and beyond, but her legacy is diffuse.
Dec 262011
As a dancer, Pina Bausch was the presiding spirit of speechlessness. She had the macabre body of an anorexic, but her matchstick arms communicated entire inner worlds.
Martha Graham famously said, “I wanted to find a way to reveal the inner landscape – to chart a graph of the heart.” So now it’s your turn to play therapist.
This is the fourth installment of Debra Cash’s coverage of events associated with the Institute of Contemporary Art’s Dance/Draw exhibition.
Nov 132011
This is the third installment of Debra Cash’s coverage of events associated with the Institute of Contemporary Art’s Dance/Draw — this time around its an appreciation of the Trisha Brown Dance Company.
The second installment in Debra Cash’s coverage of the ICA’s ambitious Dance/Draw series.
“Dance/Draw” at the ICA is a major exhibit about how moving bodies leave traces, what curator Helen Molesworth, not particularly originally, calls the “afterlife of dance.” To a lesser extent, it’s also about how visual artists think about motion when they’re not focused on particular bodies.
The musical SILVER SPOON is at its strongest when a lullaby evolves into a ballad about the arrest of a group of undocumented migrant workers.
Which suppests the quandary at the heart of choreographer Lemi Ponifasio’s work. Can sophisticated political critique be made outside the bounds of narrative? Can a poetic work without directionality enacted in a setting designed to be beyond specific time and place create an environment for redress, for action, for change?
Like the Dance Exchange’s staged and site-specific productions, Liz Lerman’s “Hiking the Horizontal” is pieced like a quilt. Like Liz, it’s a little rumpled and gives the reader a lot of permission to go her own way.
Black Swan isn’t about surpassing ordinary limits. It’s a film about a masochist seen through the eyes of a sadist. The film could be a textbook demonstration of what academics refer to as the male gaze—with a pretty young thing [...]
Ultimately, Basil Twist’s Petrushka is a meditation on the tension between the animate and inanimate, a story that lets a puppet explain what it’s like to be a puppet, a fable that argues that to be alive is to recognize [...]
Sep 252010
Screening at the Coolidge Corner Theatre on October 2nd, the Bolshoi’s Bolt is a curiosity worth exploring, a meditation on the Russian past that could only be produced after the nightfall of Stalinism. After all, in some eyes composer Dimitri [...]
What is a Judicial Review? It is a fresh approach to creating a conversational, critical space about the arts. The aim is to combine editorial integrity with the community—making power of interactivity. This is our second session. Hear Ye! Hear [...]
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