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  • Paris Styles


    Paris Styles

    I like to look at it." That was Gertrude Stein's reply, when asked what was so important about modern painting, and it's my first response to Gertrude and Alice, the Foundry Theatre's production of the piece Lola Pashalinski and her life-partner Lind...

    by Michael Feingold on June 15, 1999
  • Article

    Ron Link - 19401999

    Ronald Bruce Link so named by his mother after Ronald Colman and Bruce Cabot started out in theater as a stage manager for the Fantasticks, Little Mary Sunshine, and Leave It to Jane. I met him at a Village dive called Lenny's Hideaway, and later h...

    by Robert Heide on June 15, 1999
  • Article

    Naked Eye

    No one was more surprised than John O'Reilly when he found himself thrust into the muddied limelight of the 1995 Whitney Bienniala 65-year-old virtual unknown sharing space with art stars like Cindy Sherman, Brice Marden, Charles Ray, Nan Goldin, an...

    by Vince Aletti on June 8, 1999
  • Article

    Down New Roads - And the Message Is . . . ?

    What is How! Do! We! Do! all about? Jessye Norman sings and Bill T. Jones dances. Not exactly. It's about a great singer and a great dancer playing around together? Close; think some more. Two charismatic performers elegantly and evasively bring the...

    by Deborah Jowitt on June 8, 1999
  • Article

    Girl Groove

    Jordana Toback, who could pass for a brunette Janis Joplin, combines coruscating portraits of womenalone and in bawdy, blustering relationshipswith recordings by Tom Waits, Louis Armstrong, Jacques Brel, Errol Garner, Woody Guthrie, and Alice Dona....

    by Elizabeth Zimmer on June 8, 1999
  • Article

    Club Cortez

    There'll be dancing at Limelight, the controversial nightspot that reopened in December after a two-year hiatus. But this time the dancers will be professionals, with 100 seated customers watching (and standees lurking on catwalks). Cortez & Co. i...

    by Susan Reiter on June 8, 1999
  • Article

    Life After Wit - Director Derek Anson Jones Returns to MCC

    Sure, he won the 1999 Lucille Lortel award for Outstanding Director, but Derek Anson Jones, the person most responsible for getting Wit onto the New York stage, hasn't received much attentionwell, compared to playwright Margaret Edson, who was given...

    by Francine Russo on June 8, 1999
  • Article

    My Dick Done Broke

    Take a Sam Shepard character (a gruff alcoholic in his early thirties who's lost his ability to "jazz it up with women"), place him in a Beckettian skit (i.e., make him crawl around, semiparalyzed, on a suspended platform as he carries on a mutte...

    by Charles McNulty on June 8, 1999
  • Article

    On the Bus

    You can't get much simpler than a humble man moved to tell a story by emotional events in his life. In Q-101 (Surf Reality), an hourlong monologue as casual as a bar conversation, Steven Tanenbaum recounts some of his experiences as a teacher at Rike...

    on June 8, 1999
  • Art of the City


    Art of the City

    The silver-haired ladies sunning themselves in Gramercy Park, with toy poodles tucked into their purses, might be surprised to learn that early in this century their neighborhood was a hotbed of radical activity. Branch One of the Socialist Party was...

    by Leslie Camhi on June 8, 1999
  • Article

    All Ears

    If you've ever trekked through one of Dennis Cooper's novels, you know that the writing is usually fascinating and the going is often tough. Quick and queer in both senses of both words he's an undeniable talent, but as each book fades into a hall...

    by Daniel Handler on June 8, 1999
  • Fear and Self-Loathing


    Fear and Self-Loathing

    David Foster Wallace's work tempts reviewers to applaud him in terms that alienate the rest of America. This is a sad thing, since Wallace deserves to be read, for pleasure, by a good many people. There are some obvious reasons why Wallace is such cr...

    by Alex Abramovich on June 8, 1999
  • Screen Testiness


    Screen Testiness

    An artist is a parasite," says one of S.J. Perelman's characters, "scratch any one of 'em, and what you'll find underneath is money from home." The culture that bases everything on money doesn't really have a social role for artists to fulfill. Iden...

    by Michael Feingold on June 8, 1999
  • Article

    SparkleFEST 2000

    Esquivel plays, the backdrop glitters, attendants traipse through the crowd dispensing Jell-O jigglers in the shape of hearts and stars it's ultralounge as broadcast by the Cartoon Network. Welcome to the world of the New Wondertwins, a distaff du...

    by Alexis Soloski on June 8, 1999
  • Article

    On the Wing

    Collecting and recollecting are at the center of both the memoirist's art and the science of entomology. No one understood this better than Vladimir Nabokov, that perpetual exile who made a homeland of his mind's vast capacities. Born into highly li...

    by Leslie Camhi on June 8, 1999
  • Suburban Scrawl


    Suburban Scrawl

    After the deserved success of her debut collection The Safety of Objects, A.M. Homes found herself riding the rapids of a confluence of transgressive fiction and Gen-X Downtownism. Somehow the tributaries which floated '80s axioms Catherine Texier an...

    by Joshua Clover on June 1, 1999
  • Article

    The French Connection

    When Erich Segal, the author of Love Story, was nominated for a National Book Award in 1972, the judges threatened to resign in protest if his name was not withdrawn. Last January, however, in a gesture that underscored the French's idiosyncratic ...

    by Jonathan Bing on June 1, 1999
  • Article

    The Inhuman Condition

    One of the most revealing sections in Pramoedya Ananta Toer's powerful memoir The Mute's Soliloquy is also its starkest: a list of the dead and missing political prisoners on the Indonesian penal colony of Buru Island. The list stops at number 315, t...

    by Luis H. Francia on June 1, 1999
  • Article

    Downtown Memories - Renewing the Old

    A trim, sixtyish man in a suit walks in circles, pauses in profile for long moments, removes his jacket, shirt, and pants freezing now and then in mid act and hangs the garments on hooks taped to his body. Steve Paxton recreates his 1964 solo Flat ...

    by Deborah Jowitt on June 1, 1999
  • Article

    Muse's Moment

    Carmen de Lavallade introduced Alvin Ailey to dance ("He was on the gym team and looked like a dancer, so I suggested he take class"), performed in a Paris cabaret with Josephine Baker ("Unlike many at the time, she was very gracious"), and taught Me...

    by Kenya Hunt on June 1, 1999
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