Samara Davis

  • Robert Rauschenberg and Deborah Hay at a loft party in New York, 1966. © Bob Adelman/Corbis © Corbis.
    interviews September 05, 2018

    Deborah Hay

    Deborah Hay is a pioneering choreographer in the field of experimental dance and one of the founding members of the Judson Dance Theater. Below, Hay describes her work in the 1960s with the Cunningham Dance Company as well as with Judson—a moment that signaled for her both a departure from her formal training and a movement toward what would later become her signature practice. These words are reprinted from’s 2012 package of interviews celebrating Judson’s fiftieth anniversary. For more from Hay and other participants in the revolutionary dance movement, visit the Judson feature

  • *View of “scenic, say,” 2017.
    interviews July 02, 2017

    Emily Roysdon

    Emily Roysdon’s exhibition “scenic, say” at Kunsthalle Lissabon marks a transitional moment in the artist’s work as she shifts from her site-specific performance and text project Uncounted, 2014–17. Here, the Stockholm-based artist discusses moving forward and creating spaces for both “alive time” and loss. The show is on view through September 2, 2017.

    WHEN KUNSTHALLE LISSABON contacted me about doing an exhibition a year and a half ago, I imagined I’d soon be stepping out of my project Uncounted. Uncounted began as a collection of textual fragments, phrases, and questions that influence each

  • Emily Roysdon, Sense and Sense, 2010, two channel video, color, sound, 15 mins 25 seconds.
    picks January 29, 2016

    “Performing the Grid”

    There’s nothing more satisfying than a grid, at least for those daunted by the blank page of unfettered creative freedom. But perhaps the latter is an illusion, and no attempt at creativity exists without constraint. The sixteen artists in “Performing the Grid,” for instance, take full pleasure in being line-bound.

    Most of the works here encourage proximity not only to the object displayed but to the practice behind it as well. For example, Charles Gaines’s triptych portrait Faces: Men and Women, #14 “Charles Hanzieck,”, 1978, draws viewers toward Gaines’s tiny handwritten numbers in hundreds of

  • A still from Rebecca Patek's Back to the Source (work in progress), video, color, sound.
    interviews October 16, 2015

    Rebecca Patek

    Rebecca Patek is a New York–based performance artist and choreographer whose work combines elements from dance, comedy, and the visual arts to create often uncomfortable theater and performance situations that involve instances of satire and violence. As part of MoMA PS1’s latest iteration of “Greater New York,” Patek was invited to perform a new work for an upcoming Sunday Session, titled “The Cringe: Performance and Anxiety,” along with the artist Ieva Misevičiūtė, who will also be presenting on October 18, 2015. Here, Patek discusses the precarious development of her new piece.


  • Jibz Cameron, Good Morning Evening Feelings, 2015. Performance view, The Kitchen, New York, 2015. Jibz Cameron. Photo: Paula Court.
    interviews September 14, 2015

    Jibz Cameron

    Jibz Cameron is a Los Angeles–based artist who has been performing as her alter ego Dynasty Handbag for over a decade. In conjunction with a staging of her 2015 piece Good Morning Evening Feelings at the Portland Institute for Contemporary Art’s TBA:15 festival on September 17, Cameron’s exhibition “Simply the Worst” is on view through October 18, 2015, at the Portland Museum of Modern Art in Portland, Oregon. Here Cameron discusses these shows in addition to the TV pilot she is developing.

    GOOD MORNING EVENING FEELINGS is a one-woman show. It’s like a daytime, nighttime, children’s, and adults’

  • Emily Roysdon, Beyond the Will to Measure, 2014, wall-mounted ceramic, clock movements, acrylic, 56 2/3 x 10 1/2."
    picks January 30, 2015

    Emily Roysdon

    Handmade clocks and sundial calendars populate Emily Roysdon’s latest exhibition, where geometric shapes and popping colors produce a scene reminiscent of the 1980s Italian design group Memphis or of the magnetic pages of Colorforms collages. Roysdon’s fashioning of time renders the arrangement of objects in space a dramaturgical feat. An upside-down triangle motif is prominently cast in bold sculptural forms, the top line of which traces the identical crescent-like ridges of a rudimentary wave drawing. In Beyond the Will to Measure, 2014, a stretch of uniform royal-blue ceramic wave-triangles

  • Aki Sasamoto, Wrong Happy Hour, 2014, performance view, JTT Gallery, New York, November 2, 2014.
    picks November 23, 2014

    Aki Sasamoto

    “What is romance?” asked Aki Sasamoto in a recent performance at JTT gallery. Clad in optical blinders, she stumbled about, welcoming the audience with beer bottles in hand. Astrud Gilberto tracks played on repeat from overhead, and the packed crowd reassembled almost magnetically around Sasamoto as she moved. Her art of making room in tight places is epitomized in these shows—four of which are slated for the exhibition’s run. In the off-performance hours, the gallery is a bare-bones café with do-it yourself service—beers are in the fridge, there’s an espresso machine, and the lighting is

  • View of “Xavier Le Roy: Retrospective,” 2014.
    interviews October 29, 2014

    Xavier Le Roy

    Xavier Le Roy has worked as a choreographer and dancer since 1991, and he is well known for pieces that highlight audience-performer relationships. In his debut US survey exhibition, on view at MoMA PS1 as part of the French Institute Alliance Française's Crossing the Line festival, dancers perform excerpts from works Le Roy made between 1994 and 2010, all of which address the complicated negotiations performers engage in as both subjects and objects. The show is on view through December 1, 2014.

    LAURENCE RASSEL, from the Fundació Antoni Tàpies in Barcelona, commissioned “Retrospective” in 2012.

  • View of “View from the Window,” 2014.
    picks July 18, 2014

    “The View from the Window”

    The fragrance from Sophy Naess’s eight hanging soap slabs pervades this small white-boxed gallery, where curator Lumi Tan has presented works by three artists. Embedded in Naess’s soaps are tiny things: Pieces of weeds and flowers float next to funny trash items and found treasures. The contents are carefully arranged, whether suspended in color blocks or scattered just beneath the soap’s surface, and each tablet depicts a different landscape of secret meanings and spells. A take-away printout lists the ingredients in two clean yet crowded columns, with items ranging from “EYE OF HORUS” and

  • Michelle Boulé, WONDER, 2013, Rehearsal view, ISSUE Project Room, May 30, 2013. Photo: Wah Ming Chang.
    interviews July 05, 2013

    Michelle Boulé

    Michelle Boulé is a New York–based dancer and choreographer. She will be performing BREAK>Urge>Imprint, 2013, a collaborative work with cellist Okkyung Lee, at Mount Tremper Arts Summer Festival in Mount Tremper, New York, on July 6, and a new duet with dancer Lindsay Clark at Movement Research at Judson Church in the fall of 2013. Here, Boulé talks about her choreographic debut, WONDER, a solo performance commissioned by ISSUE Project Room.

    WATCHING DANCE RAISES questions about what we want to experience. How much of it should be about satisfaction? And what creates that satisfaction?

    I’ve been

  • boychild,, 2012.
    picks June 06, 2013

    “Stand Close”

    Perched on the second-floor balcony overlooking the large square expanse that houses ONE’s library, “Stand Close, It’s Shorter Than You Think: A show on feminist rage,” presented by Artist Curated Projects, places works by artists boychild, RJ Messineo, MPA, and Guadalupe Rosales along the building’s interior perimeter. Together, in this setting, they stress that feminist rage is in fact a collective feeling and one not without its own history.

    MPA’s performance documentation fluently demonstrates the many ways an event can be framed and reframed. In “Polaroid Series,” 2010, Schneemann-esque

  • From left: Adam Horovitz, Bridget Everett, and Carmine Covelli. Performance view, Joe’s Pub, November 7, 2012. Photo: Mateo Suarez.
    interviews March 13, 2013

    Bridget Everett

    Bridget Everett is a New York–based performer and lead singer of the band the Tender Moments. A denizen of Joe’s Pub—Everett is former cohost of Our Hit Parade, along with Kenny Mellman and Neal Medlyn—she currently performs at the venue monthly with her band. Here, she talks about her love for singing and the community of performers who feed her passion. In addition to releasing their first album this spring, the Tender Moments will be playing at Joe’s Pub on March 20 and April 24, 2013.

    I MOVED TO NEW YORK in 1997 to be a singer but I never had a clear idea of how that was going to happen.