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“These artists and their practice are an invitation to rethink aesthetic hierarchies at the center (of mainstream art) and to expand the borders of how art history has typically been run,” she said.
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“Where Do We Go?” presented an arresting technological display that made the event more than just a privatized concertgoing experience.
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Trethewey writes about loss and monuments with a masterful hand, but what made the talk exceptionally poignant were Foster’s considerate but challenging questions.
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The movie is marketed as a romantic comedy, but rather than conforming to its genre, “My Prince Edward” dismantles it.
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“A House Is a Body” becomes increasingly repetitious on the subject of marriage but remarkably original in the face of death.
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The vision of “The de Young Open” combines two phrases that are not often heard together: “local community” and “the fine arts.”
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Zheng’s work is driven by a keen interest in geometry, mathematics and ordered systems — and ways to disrupt them.
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In a Zoom interview with The Daily Californian, Dooley and Rondon-Davis discussed how their programming, company members and theater-making have all pivoted in the wake of COVID-19, or the novel coronavirus.
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Geffen described how the impacts of COVID-19 have forced many to confront how tenuous existence is at both the individual and organizational levels.
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Perhaps the truth is, that for once in my life, there isn’t any chaos lurking behind the projector — it’s just me making shadow puppets with my hands.
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