Jennifer Krasinski

  • Cally Spooner, And You Were Wonderful, On Stage, 2013. Performance view, National Academy Museum, New York, November 2013. Photo: Paula Court.
    performance November 20, 2013

    Live from New York

    PERFORMA, THE AMBITIOUS BIENNIAL FESTIVAL of theater and performance held here in New York, is now in its fifth iteration, hosting over one hundred events at more than forty venues throughout the first three weeks of November. As with all festivals, it’s a chance to exhaust oneself running from theater to gallery to museum, gorging on plays, performance pieces, and other, more hybrid genres. While the offerings I’ve seen so far have been of varying success, Performa is doing what it does best: providing a focused opportunity to witness the varied state(s) of the rambling field they call “visual

  • Alain Resnais, You Ain’t Seen Nothin’ Yet, 2012, 35 mm, color, sound, 115 minutes.
    film October 23, 2013

    Resnaissance Faire

    THIS IS TO ANNOUNCE that Alain Resnais is not having a retrospective in New York at the moment. What we have instead is a window of opportunity to enjoy a brief Resnaissance of sorts (pardon, but the pun wrote itself). Currently on view is an exhibition titled “Last Year at Marienbad Redux” at EFA Project Space; its titular inspiration, Resnais’s masterwork Last Year at Marienbad (1961), is screening at Film Forum; and his most recent release, You Ain’t Seen Nothin’ Yet (2012), is having a weeklong run at Anthology Film Archives. Neither exhaustive (nor exhausting), this convergence invites an

  • Anne Washburne’s Mr. Burns, a Post-Electric Play, 2013, in a production directed by Steve Cosson with music by Michael Friedman. Performance view, Playwrights Horizons, New York. Jenny (Jennifer R. Morris), Susannah (Susannah Flood), Gibson (Gibson Frazier), Sam (Sam Breslin Wright), and Matt (Matthew Maher). Photo: Joan Marcus.
    performance October 09, 2013

    Means to an End

    THE END, whether it is near or not, is certainly upon us: The contemporary American imagination is seized by the terror that we—here, now—are civilization’s last sigh. Film, television, and literature are of course the most prolific purveyors of sensational apocalyptic visions, offering an array of endings to suit every demographic. (It is of no comfort to observe that in our politically fractured, post-Empire America, one of the few unifying sentiments is an impending sense of doom.) We may be besieged by flesh-eating zombies, obliterated by a rogue asteroid, enslaved by alien invaders, wiped

  • Holly Woodlawn during a photo shoot by the artists BillyBoy and Lala, Lausanne, Switzerland, 2008. (Photo: Robert Coddington)
    interviews May 16, 2013

    Holly Woodlawn

    Holly Woodlawn gained initial fame as one of the Warhol Superstars in the 1960s, and by the ’70s she had also earned a reputation as a gifted actress, singer, and cabaret performer. Now the subject of an in-process documentary, Woodlawn brings her latest work, The Holly Woodlawn Show, to the Laurie Beechman Theater in New York on Friday, May 17, and Monday, May 20. On Thursday, May 16, she will also appear at New York’s Lesbian, Gay, Bisexual, and Transgender Community Center to read from her 1992 memoir A Low Life in High Heels and screen her 1973 film, Broken Goddess.