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With seemingly the entire dance world obsessed with the tribulations of training for "Black Swan," John Kelly went about his Zen-like way, channelling Egon Schiele in "Pass the Blutwurst, Bitte," at La Mama. » read more
The Pitmen Painters, on stage now at the Manhattan Theatre Club, tells the true tale of a group of Northumberland miners who took up painting and distinguished themselves enough to found a small movement. » read more
Two of the most compelling gallery shows on view in Chelsea resonate with simultaneous museum exhibitions at MoMA. » read more
Charles LeDray's work straddles the line between art and craft, making a certain case for the latter that sometimes subsumes the former. » read more
Jonah Bokaer's new dance work, Anchises, is a subtle reminder of how navel-gazing and ego-driven our daily lives can be. » read more
SundayArts blogger Susan Yung reviews a concert by the Tallis Scholars at the renovated Alice Tully Hall, part of Lincoln Center's White Light Festival, and MoMA's mammoth exhibition, "Abstract Expressionist New York: The Big Picture." » read more
Jane Comfort recently revived "Faith Healing," a 1993 dance-theater retelling of Tennessee Williams' "Glass Menagerie," at the Joyce Soho. It's a bit of a departure from her recent work. » read more
As choreographer/directors go, Matthew Bourne is in his own category, or shares at most a slice of a Venn diagram with Twyla Tharp and Bill T. Jones. » read more
Ivy Baldwin’s latest work, "Here Rests Peggy," running through October 30 at the Chocolate Factory, refines and condenses many of the fascinating things we’ve seen previously from the choreographer. » read more
Here's wishing that art exhibitions would not have to be ghettoized and dedicated solely to women. But the fact is, women have been filtered out of much of art history, whether from opportunities denied, prejudice, or any number of other reasons. » read more
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SundayArts is made possible in part by First Republic Bank and by the Rubin Museum of Art. Funding for SundayArts is also made possible by Rosalind P. Walter, The Paul and Irma Milstein Foundation, The Philip & Janice Levin Foundation, Elise Jaffe and Jeffrey Brown, Jody and John Arnhold, and The Lemberg Foundation. This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council. Additional funding provided by members of THIRTEEN.
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