How can history and traditions be reimagined for today’s audiences?
Patricia Lent of the Merce Cunningham Trust, theater-maker Richard Schechner, and video/installation artist Sharon Hayes gather to discuss the question of reenactment in cultural practice, with UC Berkeley professor Shannon Jackson as moderator.
Legendary downtown theater artist Richard Schechner asks, "What's the difference between forgery and art," between "new" and "original?"
Ramsburg shares some of her experiences as Craig Anderson, the motivations behind her character (her "impression" in reenactment terminology), and her goals as a reenactor.
We asked MacArthur award-winning saxophonist and composer Ken Vandermark a deceptively simple question: Is jazz dead?
How might a world-famous art collection—its components, its composition—inform a new piece of music? MacArthur award-winning saxophonist and composer Ken Vandermark, whose new commission is a response to Philadelphia’s legendary Barnes Foundation, shares his thoughts.
Flamenco purists may consider Israel Galván a rebel, though he doesn't see it that way.
Julia Wolfe explains how she transformed the historical nuggets of her research into a 45-minute live performance by the 140-voice Mendelssohn Club of Philadelphia.
Inspired by the Center-funded Paul Evans retrospective at the James A. Michener Art Museum, we ask Williams and Tsien to reflect on the art-furniture designer's work and its relationship to architecture.
Filmmaker and artist Miranda July answers talks about the 1990s feminist movement and what it meant to her.
We asked Lee how she thinks about the relationship between innovation with preservation.