Critical Correspondence initiates a project dedicated to examining dance in the museum today, its politics, economics, and aesthetics. Acknowledging a long history of cross-pollination between dance and the visual arts–some driven by artists, some by institutions–our hope is to create a forum, based in a dance institution, for the voices of those affected by and [...]
In response to Critical Correspondence’s initial set of questions about the interaction of dance and the visual arts, Colectivo A.M. composed a round-robin diary based on the creation and performance of their 45 hour-long piece, Arrecife, presented over three weeks in August-September 2013 at the Museo Universitario de Arte ContemporÃ¡neo (University Museum of Contemporary Art/ [...]
1) What are the most potent questions or ideas prompted by the recent coming together of dance and the visual arts? I like the terms you choose for this meeting of two different art fields: coming together. This already reveals a movement towards a shared place and at the same time the condition [...]
Although his practice incorporates performance, sculpture, and video, artist Jonathan VanDyke is often labelled a painter. He works outward from the medium of painting to explore how personal relationships affect the form and creation of works of art. Mark-making is executed upon canvases by two dancers, Bradley Teal Ellis and David Rafael Botana in an [...]
From the CC editors
Co-editors Nicole Daunic and Abigail Levine are committed to diverse forms of writing that engage with the ephemeral nature of performance. In the coming year, we will concentrate discussion around dance's encounters-with other artistic practices, theoretical and political frames, and institutions-to provide space and structure to engage, debate, and consider the effects and possibilities for the field. We invite submissions that imaginatively and critically examine the processes and histories of artists and communities in the U.S. and abroad.