What drives cultural practitioners to experiment, discover, and create?
Bissell, the Center's Performance director, and Adair, director of Exhibitions & Public Interpretation, discuss the origins and learnings of a Center interdisciplinary research project between dancers and historians that explored alternative ways of interpreting historic sites. Participants in the project reflect on its outcomes and implications.
In this week's Fellows Friday Q&A, we speak to poet Travis Macdonald, who questions authorship with written works that are lively and whimsical without being frivolous, and which offer critique and reflection of the contemporary moment.
We spoke to Laynie Browne, a three-time recipient of the Gertrude Stein Award in Innovative American Poetry.
We spoke to Matt Saunders, a multidisciplinary theater artist whose practice is rooted in set design.
We spoke to classical music composer and pianist Michael Djupstrom, who seeks to connect with audiences by bridging traditional and contemporary styles of musical expression.
We spoke to Thomas Devaney, the author of one nonfiction book, Letters to Ernesto Neto (Germ Folio, 2004), and four poetry collections, including the recently released Calamity Jane (Furniture Press, 2014).
Nonfiction writer and 2005 Pew Fellow Jay Kirk, "creative documentarian" of An Experiment in Five Acts, presents a manifesto based on the events of the Act III session.
We spoke to Mary Lattimore, a classically trained harpist who incorporates experimental techniques and technologies into her music, thereby extending the conventions of her instrument.
The Museum of Modern Art's Associate Curator of Media and Performance, Thomas Lax, takes up the question "Should we be dancing in museums?"
Brent Wahl transforms everyday materials and detritus into mesmerizing compositions, and his work has been exhibited in solo exhibitions at Philadelphia’s Vox Populi, as well as in group shows at London’s Tate Modern, Philadelphia’s Institute for Contemporary Art, and the Print Center in Philadelphia.