As an artist, a gay man, an AIDS victim, and a Cuban American, Felix Gonzalez-Torres roamed the periphery of our culture. But who put him there? Whose agenda draws the lines between marginal and mainstream? And once those lines are drawn, how does one lodge protest? In his poignant, political Install
"The air raids on the distant metropolis, which I watched from the shelter at the arsenal, were beautiful. The flames seemed to hue to all the colors in the rainbow: it was like watching the light of a distant bonfire at a great banquet of extravagant death and destruction." So wrote Yukio Mishima in
"In the work of every American playwright at the end of the twentieth century, there are only two stages: before she or he has read Maria Irene Fornes -- and after."
Though Paula Vogel's words are a fitting tribute to this dramatist's sensitive works, it's not surprising if Fornes' name draws a b
Viewed from one angle, Alain Resnais functioned as a condensation of film production -- writing, directing, shooting, and editing his own films. But looked at from another angle, Resnais embodies a kind of schizophrenia, a multiplication of roles dispersing his voice and being through time and space.