What drives cultural practitioners to experiment, discover, and create?
One the first curators to radically re-think the contemporary art exhibition context, Siegelaub spoke with Gleadowe, a British art historian, prior to his passing in 2013 for a forthcoming book from the Center on structural innovation in exhibition-making.
In 2011, the award-winning writer, director, and actor became the Center's first visiting artist. His residency functioned as a creative exchange between a working artist and the Center's staff, constituents, and communities.
The Penn Museum embarked on the re-installation of a longstanding display of African objects. The result was a 12-month prototyping exhibition and series of events, designed to elicit visitor feedback.
Paul Schimmel responds to the question: "Do you think exhibition-making bears any resemblance to theater directing?"
Two seminal figures of the New York dance world—Bill T. Jones and Susan Rethorst—sat down to talk about their distinct practices and the evolution of the field.
Andrea Clearfield—a working musician, composer, curator, and member of the group—discusses how making and listening to music is changing.
We asked our 2013 No Idea Is Too Ridiculous project facilitators, Kathleen McLean and Mark Beasley, to reflect on where they see constraints to doing creative work.
"My thinking as a curator has been informed by 'other lives' that I've been fortunate to live and I continue to think about exhibitions from the perspective of what's new that can be brought to the table."
In the third and final segment of our three-part conversation with Center Visiting Artist Ain Gordon, he gives us a glimpse of how he has entered into conversations at the Center and proposed alternative possibilities for our approach to our work.
The final article in the American Impresario series features Claire Chase of the International Contemporary Ensemble, which has been described by the New York Times as "one of the most adventurous and accomplished groups in new music."