"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
"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
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
Ellsworth Kelly's monochrome canvases redefine the beauty and drama of the single-color process. Color is the actor on this stage, the figure that transfixes the audience's gaze. These colors and shapes become part of the subconscious of the viewer, who feels the reds, blues, and yellows as emotions.