What drives cultural practitioners to experiment, discover, and create?
During a recent conversation at The Pew Center for Arts & Heritage, our visiting scholar Kristy Edmunds asked Philip Bither about making curatorial choices that lead to dynamic artistic experiences for audiences.
Choreographer Ralph Lemon talks about ephemerality in relationship to his work in the dance field, and the complexity of memory.
Visiting scholar and performance curator Kristy Edmunds describes how she approaches risk in the context of her curatorial work.
Nick Stuccio, President and Producing Director at FringeArts, on how curation in performance might differ from curation in the visual arts.
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.