#tyler-noda

#tyler-noda

In 2025, Dmae Lo Roberts embarked on a statewide storytelling experience focusing on personal stories from both artists and community members. These stories are a form of living oral history.

"Most people don't stop to observe the crews' work or the infrastructure they uncover," Tentler-Krylov said. "But these unseen things keep the city going."

Oshatz worked on a monumental scale to represent underwater scenes, creating a full stage silk backdrop. He also designed hand painted silk waves that dancers moved across the stage.

Seeing the Alhambra in Granada was an extraordinary experience for me. It was the first time that I understood painting as something other than an object hanging on a wall. I thought that paintings could be in a fixed place, made for that place, made for the light of the place, experienced kinesthetically.

All but one of the song titles on Body Sound, the debut album from experimental string trio Whitney Johnson, Lia Kohl, and Macie Stewart, line up nicely-a few words, usually two, usually nouns, separated by a vertical line. The straight line in the middle means different things in different disciplines. In computing, it's called a 'pipe' and serves as a conduit. In poetry, it denotes a pause or break. In music, it marks the beginning and end of measures.

Volti and Left Coast meet in a bold and dramatic new work by Chris Castro for storyteller and musicians, which delves into the ancient and universal human explanations for our beginnings. The human relationship to our environment forms a through-line from romantic to experimental musical sensibilities.

Each layered element is independent, all housed within one object on your timeline. Multiple elements can be combined into a Flipbook by using the multi-select function. This allows for users to shift, organise, and retime frames.

In a dimly lit, dusty church basement, eight people meet and place their cellphones into a wooden box. Each member of the octet struggles with a dependency upon the very tool that enables us all to enjoy a level of historically unprecedented convenience - the internet. Like the characters, audiences are called to unplug and immerse themselves in the world of Studio Theatre's production of Dave Malloy's unique a capella musical, Octet.

Weeks in a relationship or life blur together. You remember birthdays and trips, but the quiet in‑between time mostly stays invisible. We track deadlines and appointments on digital calendars, but rarely see the whole arc of a shared life at once, the years you've already moved through and the ones still sitting empty ahead. There's something oddly powerful about seeing every week you have, and have had, laid out in one place on a wall.

No one could accuse Fleming of tailoring his act to please a conventional audience. His stage attire lies somewhere between "androgynous hipster" and "clown," and his only criteria for a premise appears to be "What does my brain fixate on?" He expects his audience to keep up with any cultural reference his Massachusetts-born, millennial, Skidmore arts-graduate brain might make without ever stopping to explain what, say, "Gatsby-esque" might mean in the context of Bitmoji.

Inside NYC-based artist Mark Dorf's project Late Pastoral, the ecological world is trapped in a rear-illuminated print. It's real - but something is off, it's been digitally altered, data-noise clutters images of glowing plant life. Shaped by the pervasive influence of technology, design and the rhythms of digital connectivity, even nature becomes at one with the unreal. Non-human nature is the main thesis of Mark's wide-spanning digital art works, offering reflections on our digital age.

There's something mesmerizing about watching objects move with intention. Not random chaos or frantic spinning, but deliberate, mechanical motion that feels almost choreographed. Kutarq Studio's Totem de Luz captures that magic perfectly. It's a kinetic lighting sculpture that sits somewhere between functional lamp and art installation, refusing to pick a lane and somehow being better for it. At first glance, Totem de Luz looks like a sleek vertical column made from stainless steel and glass.

Naoto Nakagawa's current show at KAPOW brings together a significant group of new acrylic paintings and intimate watercolors, situating his recent practice within both the Japanese shunga tradition of erotic art and his own six-decade exploration of perception, material culture, and the natural world. On view at KAPOW in Manhattan's Lower East Side through February 22, works across the exhibition resonate with themes that have defined Nakagawa's career since the 1960s - most notably his persistent pairing of man-made objects with organic life.

With most of us, 90 minutes of reminiscing wouldn't make for scintillating theater. Gert Boyle, as played by Wendy Westerwelle, is the exception to that rule. The late Gert came to fame when she took the reins of Columbia Sportswear after her husband's death in 1970 and also became the "One Tough Mother," with gray hair and glasses, of its comedic '80s and '90s ad campaigns. In one, she put her son, Tim, through a carwash to test the durability of a coat.

Tiger Style! - Profile Theater's first full production in a two-year dive into the work of playwright Mike Lew - is a canny choice, well-designed to whet audience members' appetite for Lew's work and keep them watching for the next offerings in a planned cycle. The play's quick comic timing deftly navigates themes that might otherwise encounter resistance, leaving those who are willing with lots to chew on.

When a stranger smiles at you, you smile back. That is why, when Sir Ian McKellen ( The Lord of the Rings, X-Men, Amadeus) walked on the stage in front of me, looked me straight in the eye, and smiled at me, I smiled back. It was the polite thing to do. It was also completely unnecessary, because McKellen was not actually on the stage in front of me. He smiled at me through a pair of special glasses.

"The four large-scale canvases that constitute the core of ' Misfits' maintain the fundamental elements of the artist's visual lexicon while radically reconfiguring compositional structure and spatial organization. These works advance a design freedom that is simultaneously forceful and controlled, achieving a balance between expressive intensity and formal restraint. As such, the series marks a decisive moment in Nuñez artistic evolution and possibly an initial step toward a more profound and transformative reorientation of his practice."