Ask a dancer under 30 in Europe about Pina Bausch, and most likely you'll get a blank stare or a shrug. You might as well mention Isadora Duncan or Martha Graham. Important, yes; relevant, no. For them, Bausch, the most radical innovator of European dance in the past three decades, is passé. Read more »
GAMER I had the fortune of winning a PSP in a contest a few weeks ago, and in my hunt for an inaugural game for the system, I spotted Jeanne D'Arc on a shelf in a local toy store. Because the cover sports an awesome girl with a sword and because no one does medieval European history like the Japanese, I picked it up.
Jeanne D'Arc is historical fantasy with a plot that seems a little too familiar. Read more »
"Make my world beautiful," commands the (drag) queen (Flynn Witmeyer) of her corseted courtiers. The incantation naturally has something defiant and (given our location in a loft on Capp near 16th Street) maybe even a little urgent about it, summoning the new Eden as an unruly if royal realm of gender-blurring sexual role play and uninhibited frolic. Naturally too there's bound to be trouble in paradise, the intruder in this instance being no snake but rather a pair of slithering fish-head waiters. Read more »
Shinichi Iova-Koga's work is grotesque, beautiful, and funny. As a dancer he is never less than mesmerizing ephemeral like smoke, limpid like a vernal pool. And yet he is an accidental dancer. The son of two painters, he was initially drawn to photography; at age 12 his bathroom doubled as a darkroom. Then, at San Francisco State University, he became a film major. Read more »
Hey framer, don't try to frame Jenifer K. Wofford. She'll turn that frame into a threshold. Her creative identity ricochets from teacher to student to painter to performer to director to curator with a self-determining force that exposes the mutability of such labels.
In May, Point of Departure, Wofford's evolving series of postcard-size portraits of Filipina nurses, was a highlight (along with understated contributions by Bill Jenkins and Alicia McCarthy) of the UC Berkeley MFA show at the Berkeley Art Museum. Read more »
"Citizens. Wake Up. A new day is dawning in San Francisco and all over the world."
Keith Hennessy, "A Speech to the Poor Artists," San Francisco City Hall, Oct. 4, 2000
Keith Hennessy has made work in the Bay Area for more than 20 years, yet he has stayed at the margins all this time. Yes, his audiences are good, and they show up time after time to watch his latest work, but he hasn't gotten the grants that would allow him to do big tours or reach a more mainstream audience. Maybe he prefers it that way. Read more »
One of the first things to strike you about a foolsFURY production is its sheer kinetic energy and rigorous physical vocabulary. Hovering somewhere between modern dance and mime, or maybe the fashion runway and the circus, the movement of the actors onstage suggests tightly coiled regimentation and an unpredictable, acrobatic freedom. Bodies rewrite the most seemingly inconsequential gestures as larger than life or in an altogether different register, so that you might suddenly see and wonder at them.
But the next thing to strike you will surely be the words. Read more »
The second I step into Creative Growth one late Friday morning, I feel slightly elated. It may have something to do with the sunlight streaming through the ceiling windows of the wide-open space, a white-walled relative of the equally amazing (in an entirely different manner) Paramount Theatre a few blocks away. It may have something to do with the fact that almost 100 people are making art at the same time and instead of hearing snippy criticisms, I'm meeting a guy named Jorge Gomez, who likes to hug. Whatever it is, it isn't an accident. Read more »