BOREDOM!!! (as an amplifier), was recently featured in a NY Times article by Claudia La Rocco. The article is about PERFORMA and the blurring of various forms in performance work being created these days.

I found the article to be a great read and was happy that Claudia used recent New York dance performances as examples of this blurring and challenging between various mediums.

Although PERFORMA features dance performances and dance related happenings, including a number of events surrounding/exploring the influence of Judson Dance Theater, the New York dance scene was largely disregarded by the curatorial team. This is a disappointing move especially considering that PERFORMA director, RoseLee Goldberg, states that PERFORMA is trying “to open the doors and windows between the dance and art world, to find the conceptual underpinnings where there could be a crossover.” She continues to ask “How come this conversation was so profound and rich in the ’60s and ’70s?” “Can we reinstigate that?” I would challenge her that this crossover is happening and very active right now. But if RoseLee hopes to open doors between these worlds, I wonder aloud how this is going to happen when a large and active scene of dance artists based in the same city as PERFORMA is pretty much ignored…

The Kitchen’s executive director and chief curator, Debra Singer, seems to also think this crossover between the dance and visual art worlds is lacking. She is quoted in the NY Times article as saying “There seems to be little time spent either studying or taking in things that might be just to the left or the right of your primary interest,” “In New York, we’re so blessed with so much that you can indulge your primary passion.” “At the artist and audience level, almost ironically, it can perpetuate a kind of parochialism.”

I would love to see more of a crossover between the two forms in regards to economy.

But as far as artists being interested and collaborating I think that is alive and active.

I drafted a short list of recent New York performances/collaborations where this blurring/collaboration has been fertile.

Luciana Achugar collaborating with Michael Mahalchick

Maria Hassabi collaborating with Marcos Rosales, Scott Lyall and THREEasFOUR

Ei Arakawa working with students from the Martha Graham School

robbinschilds (Sonya Robbins and Layla Childs) collaborating A.L. Steiner

Dean Moss collaborating with Laylah Ali

RoseAnne Spradlin collaborating with Glen Fogel

Miguel Gutierrez collaborating with Christoph Draeger

The collaborations between Chris Peck and Charles Atlas

The work of Fritz Welch

The work of Julie Tolentino

Mike Pride / Drummers Corpse

The work of Jillian Pena

The work of lower lights collective and it’s individual artists (Matt Bauder , Aki Sasamoto, Lily Skove, Kate Ten Eyck, Dan St. Clair, and Arturo Vidich)

The collaborations between Okkyung Lee and Andrew Lampert

Sam Kim’s recent show had visual artists as performers.

The work of Sarah Michelson

Trajal Harrell collaboration with assume vivid astro focus

The work of Eagle Ager

The work of Vlatka Horvat

The work of lucky dragons

Noémie Lafrance video for Feist

The work of Julia Mandle

Melinda Ring collaborations with Martin Kersels

The work of Claude Wampler

The work of the New Humans

The work of Michael Portnoy

This is an incomplete list.

It seems to me that the real door that needs to open is the conversation between artists and curators.

And to famously quote Timothy Leary from the 60’s maybe curators need to “Turn on, tune in, …..”

Here are some photos from the past Live Sh– at the Chocolate Factory. The paintings and sculptures that appear in the photos are by Judy Rikfa.

(Stella Rabbit)

(Tara O’Con)

(Jill Sigman)

(Biba Bell for AUNTS)

(Andy’s MoM)

(Chris Peck)

(Talibam)

It was a great LIVE SH–!

I am missing pics from the performances of Ana Keilson and Melanie Maar. If anyone has some please email me.

Thanks to everyone who came out and all the performers.

hitotoki

“is a new literary site collecting stories of personal, singular experiences in cities worldwide.”

They are currently accepting submissions of short narratives that are specific to New York City. The submissions are due by August 31 and I imagine the full site will launch shortly after.

Here is what they are looking for

“short narratives describing pivotal moments of elation, confusion, absurdity, love or grief — or anything in between — inseparably tied to a specific place in New York City.”

Check it out.

(via Jean Snow)

Nothing can replace the notebook.

Even though many people carry laptops, smart-phones and other electronics with them everyday it seems that the old pen and paper hasn’t been completely abandoned. Nothing beats the free form ability a notebook allows when jotting down a note, idea or inspiration.

Here is a brief list of some of the more interesting notebooks I have come across recently:

Behance Action Book

The design of this notebook is inspired by Behance’s Action Method.

GRID-IT! NOTEPADS

They offer a family of notepads inspired by various historical moments/people of design.

Le Modular is inspired by Le Corbusier.

The Guardian is inspired by David Hillman’s redesign of the Guardian in 1988

I have been hearing about a new notebook call Field Notes. I haven’t seen one and am not sure what sets it apart from others. But people seem excited.

On their site they have a good quote:

“I’m not writing it down to remember it later I’m writing it down to remember it now”

And of course there are the classic Moleskine notebooks.

I am currently carrying one of these around.

What do you carry?