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Daniel Arasse’s method has been defined by his students as “looking, [taking] pleasure and [being] imprudent.” Any and every detail of a work of art can serve as his starting point.
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While it’s too soon to call it timeless, the vitality in Philip Guston’s art has proved durable. But the structure around it – the “art world” in its blinkered, stultified form, institutional and academic in the worst senses of those words – has died and encased it.
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Most of the night’s visually tilted action took place within a tightly framed stage that made the presentation seem somewhat detached.
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These pieces are an intellectual challenge to the listener as well as a sensual pleasure. They should send saxophonists back to the practice room.
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Rather disappointingly, but perhaps not surprisingly, the expressions of lesbian eroticism in Benedetta are very obviously depicted for the male gaze.
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Energizing, joyful, expert, close to sure-fire, Chasing Magic was a great choice to reopen A.R.T. after the long pandemic shutdown.
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What Kyle Abraham has done is to conjure up a wonderfully confusing vision into the myriad possibilities raised by the cycle of death and life again.
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A singular muscularity infuses these short stories, a confidence that astonishes.
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The solo format at Alexandra Palace recalled his recent “Conversations with Nick Cave” tours, a similar chance for the singer to deconstruct his songs at the piano, except that he never addressed an imagined audience beyond his lyrics.
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To the extent that Antiracist Baby helps to define and explain antiracism succinctly, it may be useful for older kids and grown-ups.
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