Jenelle Porter served as a Center dance panelist in 2012. Prior to joining the Institute of Contemporary Art, Boston as senior curator, Porter was curator from 1998–2001 at Artists Space in New York where she organized over 20 exhibitions, and then worked as curator at the Institute of Contemporary Art, Philadelphia from 2005–10, where she organized exhibitions Charline von Heyl, Dance with Camera, Dirt on Delight: Impulses That Form Clay (with Ingrid Schaffner), Trisha Donnelly, Locally Localized Gravity, and Gone Formalism, among others. She has written essays for numerous catalogs.
Philadanco reconstructed Bad Blood, a highly physical and seldom-performed piece by Ulysses Dove, which premiered at the Kimmel Center for the Performing Arts in April 2014.
Founded in 1982, Choral Arts Philadelphia has performed nearly 300 works by more than 100 composers.
Hip-hop dancer and Pew Fellow Raphael Xavier talks about how performing on the street differs from performing on stage.
The Philadelphia Museum of Art presents portrait of myself as my father, a dance work by Zimbabwean dancer Nora Chipaumire.
We ask DeFrantz how changes in technology are impacting the ways in which artists produce narrative.
Michael Djupstrom premieres a new piano quintet at the 2016 National Cherry Blossom Festival, Beth Kephart and Caroline Lathan-Stiefel display works at the Philadelphia International Airport, and The New York Times reviews Chris Forsyth’s new album.
In an essay for the monograph accompanying Pati Hill: Photocopier, Michelle Cotton, director of the Bonner Kunstverein (Germany), situates Hill’s practice within the conceptual art scene of the 1960s and 70s.
Jones is a movement performance artist who intertwines personal history, diasporic movement, social commentary, and interdisciplinary methods, drawing from, in her words, “the individual and collective lived experiences of blackness.”
Christoph Cox is Professor of Philosophy at Hampshire College. He is the author of Nietzsche: Naturalism and Interpretation (California, 1999), and co-editor of Realism Materialism Art (Sternberg, 2015) and Audio Culture: Readings in Modern Music (Continuum, 2004).
Over her 40-year career in performance, Merián Soto (Pew Fellow, 2015) has focused on investigating the living body and its relationship to consciousness. Her conceptual and process-based pieces work towards, in the artist’s words, “a dance of the future, a dance of healing, transformation, and transcendence.”
The Barnes Foundation will screen a series of films depicting modern life in the late 19th and early 20th centuries.
Dedicated to supporting and promoting Latin American culture, Raices Culturales LatinoAmericanas produces a variety of community programs and cultural showcases.