Issue #48
Spring 2016
How do we access someone's work through the eyes of another artist? We intentionally engage this practice in the pages here and less intentionally in casual conversations at play in a scene of events. This issue features many artists who have been working in the Downtown New York scene for decades. Personal histories reveal downtown histories. Several of these discussions are with artists who do not identify as dance artists, but who work alongside of, with, and between dance artists to share alternative perspectives. In the intimacy of creative processes shared between collaborators, friends or even strangers, how do we reflect and remember? What kind of viewpoints do we set-up onto each other's work and practices? What tales are being spun and by whom?
Editorial team
Editor-In-Chief
Moriah Evans
Macklin Kowal - David Knowles - Lisa Nelson - Racy Brand - Nola Sporn Smith
Cover Artist
Cathy Weis
Managing Editor
Lauren Bakst
Contributing Editor
Matthew Lyons - Ursula Eagly - Ethan Philbrick
Copy Editor
Conor Creaney
Ad Layout
Catherine Galasso
Articles
Editors’ Letters
How do we access someone's work through the eyes of another artist? We intentionally engage this practice in the pages here and less intentionally in casual conversations at play in...
Opinion: Moving For The Crowd
A New York City artist and movement-maker, a friend, wrote in bold on his successful Kickstarter campaign page, "With your support we will be able to make our new piece."...
Should We Build?
Housing, Theatre, Panel, Performance Spaces
Meeting: Jelili Atiku
ISHMAEL: Maybe we should talk about the first time we met. I had this very romanticized African American feeling about coming home, coming to Africa, having some kind of spiritual...
Place: Migrating Words: Embodying Seoul
"CENTER IS EVERYWHERE." In 2015 April, I landed in Seoul without knowing how long I would stay or for what degrees of will. Yes, I am from here. I had...
Festival: Laboratorio: Condensación
A "magic soup": Choreographer Martín Lanz Landazuri once described his Laboratorio: Condensación like this, and truly it is an accurate metaphor. Martín initiated Laboratorio in 2013 in order to create...
Interview: Mike Taylor
SM: Mike, where are you from? MT: Dallas. SM: And how long have you lived in NYC? MT: Since Armageddon. SM: When was Armageddon? More or less? MT: Hardly anyone...
Centerfold: Stanley Love
"Usually people who give you money want to tell you what to do. I'm done with that. Freedom is free, free is free. Money is not free... My art not...
Interview: Mike Taylor
RL: You have the best dreams. Any good dreams you'd like to share? MT: I remember the one about getting sent by the government to another planet where we were...
In Memoriam: On Chantal Akerman
Chantal Akerman's interest in music and theatricality was tested by a documentary shot in the summer 1983, commissioned Antenne 2 (one of the six TV channels in France at the...
Music: David Linton
David Linton has been active in the downtown experimental arts community for thirty years. Originally a percussionist, David has created sound, music—and something in between—for many collaborative dance, theater, and...
References
THE "THEY" MANIFESTO Jackson Mac Low, New York 1977; 26 Feb. 1978; 26 July 1978 Use "they," "them," "their," "theirs," & "themselves," in place of "he or she," "him or...
Dancing, Reading, Planning: Notes on Adult Contemporary
Adult Contemporary, reading series, interdisciplinary, non/fiction, cross genre, writing-dancing
Profile: Tom Brazil
Tom Brazil has been photographing dance for nearly five decades, since first attending Meredith Monk's Juice at the Guggenheim in 1969 as an audience member. Fast forward to 2016—Tom is...
Project Page
The Road to Madame Xenogamy
Reprinted in part from MRPJ #27/28, Spring 2004 In the late '60s, one summer morning I walked out to the highway on the East Coast, stuck out my thumb and...
Archiving CW Projects
It was quite by chance that I found myself listing "video archivist" on my résumé. I have a good memory and an eye for detail but always pictured myself a...
My Collaborators & Works
Funny how you can make a friend for one reason, and that friend can affect your creative life forever. I made friends with Lisa Nelson in '66 because we laughed...
Choreography for the Eye: A Talk with Cathy Weis
JANUARY 9, 2016 at WeisAcres Studio, NYC C.Carr: I've always loved the way you incorporate video into your work. I've seen a lot of dance where people are moving onstage...
Putting It All Onstage
Dance had embarked on dismantling its traditions in the early '60s at Judson Church, but the arrival in our hands of portapak video in the '70s—with its instant feedback and...
Cathy’s Clown
Cathy Weis loves watching dancing. She doesn't just appreciate it, she loves it. And she seems to like watching me dance—so I want to dance for her. It can be...
Eyeing In and Out
Working with Cathy is always like a magic trick. It takes a lot of practice to create the magic but when it happens it often feels unexpected. In rehearsal, much...
Playing the Image
Improvising in Cathy's work is similar to my own process, which is to always know what you are doing, even if you don't know exactly how to do it, often...