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Claudia La RoccoCLAUDIA LA ROCCO writes about performance for the New York Times and is the founder of thePerformanceClub.org, which won a 2011 Arts Writers Grant. She is a member of Off The Park press, where she is editing an anthology of poems by painters. She is on the faculty of the School of Visual Art's graduate program in Art Criticism and Writing.
RECOMMENDED ARTICLES
Stanley Whitney: TwentyTwenty
By Amanda Millet-SorsaDEC 21-JAN 22 | ArtSeen
Stanley Whitney’s recent exhibit of new paintings presents his lifelong exploration of an endless oasis of color.
from Alisoun Sings
By Caroline BergvallMAY 2020 | Poetry
Caroline Bergvall is a poet, artist and vocal performer. She works across art-forms, media, histories, languages. Her practice integrates many ways of working and of collaborating across disciplines. Outputs include books, performances, installations, audio-works, drawings, essays. Alisoun Sings (2019) concludes a trilogy of works exploring medieval and contemporary sources. It opened with the collection Meddle English: New and Selected Texts, and was followed by Drift (2014). It was awarded a Cholmondeley Award for Poetry (2017) and a Bernard Heidsieck Art Literary Prize by the Centre Pompidou (Paris 2017). Judith E Wilson Fellow in Poetry and Drama (Cambridge, 2014), Writer in Residence (Whitechapel Gallery, 2015), Collaborative Fellow (Chicago, 2016). Currently Visiting Professor in Medieval Studies, Kings College London.
MARTHA COLBURN and PAT O’NEILL with Marius Hrdy
SEPT 2020 | Film
Drawing ideas from paintings, books, films, and audio recordings, along with poetry and music, Colburn and O'Neill share a common interest in collecting and recycling materials, often reusing them across multiple mediums, in performances and multi-channel installations, drawings, sculptures, and assemblages.
Teresa Margolles: El asesinato cambia el mundo / Assassination changes the world
By Susan BreyerFEB 2020 | ArtSeen
Originally from Culiacán in Sinaloa, Mexico, Margolles developed an intimate relationship with death while working as a mortician in Mexico City. There, in the early 1990s, she began making work that centered upon the human cost of drug-trafficking violence in Mexico. Her performances and installations employed post-mortem material such as blood and surgical threads to make tangible this shocking and generally unseen human loss.
