What drives cultural practitioners to experiment, discover, and create?
A former NEA Fellow in Literature, Brian Teare has been a resident at Headlands Center for the Arts and the MacDowell Colony, and a recipient of the Ruth Lilly Fellowship and the Wallace E. Stegner Fellowship.
Blanka Zizka, Wilma Theater's Artistic Director, on risk in theater-making.
Choreographer Ralph Lemon talks about ephemerality in relationship to his work in the dance field, and the complexity of memory.
In 2015, we spoke with Sam Miller about the relationship between risk and artistic process.
How can a curator approach artistic risk? Argeo Ascani, Curator for Music at EMPAC, Experimental Media and Performing Arts Center at Rensselaer Polytechnic Institute, prefers to use the term “experimentation”.
Playwright and director Ain Gordon reflects on An Experiment in Five Acts, a critical feedback program for mid-career artists of his own design. Here, he speaks candidly about the project's impact, what worked and what didn't.
Nonfiction writer and 2005 Pew Fellow Jay Kirk, "creative documentarian" of critical feedback program An Experiment in Five Acts, reports on the events of the Act V session, the final installment of this series.
Artist Bob and Roberta Smith creates work in what he calls the "communicative realm," from hand-painted slogans to social media campaigns.
"I conceive of character as my responsibility within the piece," says Philadelphia theater artist Mary Tuomanen.
Jumatatu Poe’s work as a choreographer focuses on exploring bodies and selves that are physical, emotional, representational, and spiritual.