I don’t know about you, but when I was a kid I clipped things out of magazines and stuck them to the wall. I remember vividly having Jodeci, Milla Jovovich and Marilyn Monroe in close proximity. The fact that everything these days is viral and that this might date me makes me slightly sad. I was also sad when the day came to tear down these seemingly un-saveable collage projects from the wall. I implored my mother to briefly save a door once, but eventually it too got thrown away.

Willie Alexander, best known as the keyboardist for the Velvet Underground, also really liked to tape things to his wall. Apparently, he never stopped. Since he was 13 years old, he has been taping and collaging found images together from magazines, newspapers and everyday life. Even while on tour with The Velvet Underground he would obsessively collect daily ephemera and paste it in journals, cataloging his experiences. Back at home, he would stay up at nights tacking images to every possible surface -including the ceilings- perfecting a system with packing tape where once he was done, he could peel the wall (or ceiling) off in its entirety like wallpaper. This week, Esopus, one of my favorite publications who does only amazingly cool, head-spinning things, is displaying these collages for the first time ever. The exhibit goes up on Thursday, but Alexander himself will be on hand next week to meet with people like me who who are excited about this special art form typically relegated to the teenage bedroom. I’ve already started a new wall.

Willie Alexander’s show, Wall Works, is up February 9 – March 13 at Esopus Space, 64 W. 3 St., NYC. There will be an artist’s reception on February 15 from 6-8pm. The space is open to the public Mondays from 12 to 8pm, Tuesdays and Thursdays from 12 to 6pm, and by appointment other times.

Image: Willie Alexander/Esopus Space

Neal Medlyn took up residence at The Kitchen this past weekend with his badass show Wicked Clown Love. Based on the Detroit rap duo Insane Clown Posse (ICP) and their followers, known as Juggalos and Juggalettes, Medlyn performed with his two main sidekicks, Farris Craddock and Carmine Covelli, and a cast of Juggalos. This is a continuation of Medlyn’s performance work in which he takes pop music icons, such as Beyonce, Britney Spears, or Phil Collins, and creates an entire piece based on them. ICP provides ready-made mythology and rituals based on their highly developed sub-cult following. Medlyn serves it all up: lunatic clown aesthetic, Faygo showers (ICP drink of choice that’s constantly sprayed on fans and themselves), and recreating their yearly music festival gathering in the woods complete with wrestling and other debaucherous activity. Everything in the world of ICP happens in The Dark Carnival, a space in which the battle between good and evil is proselytized. It’s a space centered upon male bonding and shared knowledge of rituals. At one point in the show Medlyn creates a safe circle for any member to step up and share about anything they need to get off their chest or throw out some rhymes, but first he purifies the space with a spray can of Old Spice.

Breaking character, Medlyn diverged into stories of his early 20’s in Texas, like writing hot checks at Wal-Mart in the middle of the night while high. The structure of his work is very closely tied to that of performance artist Ann Liv Young. They both share a love for singing over other people’s songs, using those songs as a story telling means to push along a narrative, and they break into highly confessional personal monologues that implore the audience to feel a close connection to their lives.

Half the performance is based on watching Medlyn be a karaoke king in his own show. His persona is extremely convincing and he’s actually a good rapper. Whether you can get into his topic or not, the story he’s telling through ICP is one of camaraderie and the human need to connect with one another. Aggressive and nihilistic at first the story gives way to transformation and miracles. Faygo showers are given the power to turn energy from negative to positive, clearing away the past to give way to the future, that sounds like a good ol’ baptism to me. What becomes clear by the end is that the carnival is a space to encounter God, to make a choice between good and evil, and to participate in a community. Through the story telling structure of the six Joker Cards, you are lead through a personal and social battle of whether you can judge your moral behavior by the ultimate end point of entry to heaven or hell. ICP has oscillated from confirming and denying the intentionality of their “God message”. Medlyn made it very clear in one of his monologues that he wanted to talk to us about negation that night. Having vaguely encountering ICP culture in high school, Medlyn’s performance creates a safe space at which to be a second hand voyeur of his re-enactments of Juggalo behavior. I was only too thrilled at the real life Juggalos in the house.

Photograph by Paula Court

The Pass It On Project is a documentary film by Melissa Nicolardi and Kalim Armstrong about education, race, and the relevance of the Civil Rights movement in America today. A three-year labor of love, it is finally being screened this weekend through Filmwax. There will also be a Q&A with the featured students, teachers, and filmmakers.

The Pass It On Project will be screened this Saturday, February 4, from 6 – 8 pm at The Brooklyn Society for Ethical Culture, 53 Prospect Park West.

Above photo: Rick Ross signing a photograph of himself by Jonathan Mannion at AE Gallery

Saturday, December 2 on South Beach saw the Phillips du Pury charity auction at The Webster benefiting the Playgrounds Around The World charity. Artworks by Ryan McGinley, Dan Colen and the late Dash Snow hung on the walls, the first time the three downtown legends had ever shown together. The three pieces raised just over $200,000 ($150,000 for the Colen alone, the other two about $25,000 each) for the charity.

Mihoko’s 21 Grams, a high-end Franco-Japanese restaurant opening in Manhattan next year, provided guests dinner prior to the auction, replete with caviar and pink chevre mousse bombs. As bidding concluded, an impromptu dance party began, the star of which was 9 year-old Sunny Melet, who began to jump rope with a giant scarf worn by one of the guests, urging everyone to take turns.

After the room played jump rope, Ryan McGinley spoke about how happy he was to be involved in the auction. “I chose this piece because I knew it would sell, since this is a charity auction you always want to pick a piece that will sell. It’s an important cause. And I’m happy to do anything to promote Dash Snow’s work.”

He commented that this year at Basel was his most enjoyable to date. “My favorite experience at Basel this year was having my work shown with a few artists whom I really love and respect, who I have never shown with before. It was also great to see my work displayed on a 7000 square foot screen at The Bass Museum event. I’ve never had my work displayed on such a large scale, and it was amazing for me. It was like a drive-in theater, with a few hundred people watching on bean bags. On the other hand, my least favorite experience this year in Miami was getting a moving violation for rolling through a stop sign. I haven’t been pulled over in years… It was bad. Terrible.” (laughs).  New York artist Brent Birnbaum jokingly added, “My favorite thing at Basel this year has been seeing composed civilized people wasted on the street.”

Above photo: Bodybuilders in front of Mint & Serf graffiti at the Norwood/Patrick Duffy party

Patrick Duffy’s Norwood party at the Shore Club with downtown graffiti artists Mint & Serf filled the last night of Basel with bulging muscles, spray paint and hip hop. Mint&Serf, AKA Mirf, lead the Peter Pan Posse, a downtown collective that runs the streets of today like the Irak and ALIFE crews did a decade ago.

At the pool behind the Shore Club, shiny bodybuilders flexed, smiled and posed in front of a spread of fake candy treats and a backdrop of a 1950’s era suburban living room. Guests reclined in cabanas, smoking weed from apples. People danced around the bar and DJ booth as Gucci Mane and Dipset bounced through the tall sheer white curtains that billowed in the breeze.

Around 8pm, the body builders left their posts, and Mint & Serf’s graffiti crew quickly moved in and began spray-painting all over the backdrop. Mint dropped “REAL NY” in the upper right-hand corner. Guests crowded around, mesmerized as the artists fluidly took turns, spraying layer over layer of graffiti for over twenty minutes.

Then the body builders resumed their perches, and the artists headed to the DJ booth to pose for pictures and generally jump around like lovable juvenile clowns. “We’re the PPP!” laughed Mint, forever young indeed.

“The most important thing we’ve learned this Basel is keeping it cute, and keeping a lot of swag,” chimed in Jacuzzi Chris, AKA Same. Mint added, “This is by far our favorite event of Basel this year, because it’s so weird. Writing graffiti while smelling bronzer… After going to crazy parties, you get the idea. Everyone has crazy swag. There was the Louis Vuitton party with the bottles and the models, but it’s contained.” It was refreshing to be at a non-corporate event filled with a true Basel mix, where the PPP graf boys and the DSquared duo, Dan and Dean Caten, in matching white jeans, could mingle with trannies and Miami fake boobs. “Wow, this is great,” Dean or Dan Caten said (we weren’t sure who was who).

Few crews so dominated the Basel scene as PPP, with members showing art, throwing parties, doing public graffitti walls, DJing, performing and just generally winning Miami’s annual competition for best downtown crew. And this party – wild, weird, fun – was a great example of their unique New York swag.

Above photo: Rick Ross in conversation with photographer Jonathan Mannion at AE Gallery

In Miami’s design district, AE Gallery hosted Classic, an exhibition of key works of iconic urban music photographer Jonathan Mannion. Mannion has become the go-to photographer for legendary hip hop artists, and is renowned for developing strong, ongoing relationships with celebrated musicians who trust his ability to capture their artistry. His photographs of hip hop icons such as Jay-Z, Notorious BIG and Lil Wayne at once inspire a flooring sense of awe for their subject, whilst engendering a profound emotional connectedness. They capture not only the glamour and gravity, but their unguarded humanity.

Rick Ross made an appearance and sat down with Mannion to discuss photographs he has taken throughout Ross’s career. Each photograph was projected onto a screen and the pair reclined in white leather armchairs, reminiscing over each shared memory. At a photograph of Ross subdued in a canary yellow fur, Mannion exclaimed, “Bumble bee yellow fur?!” Ross, incredibly articulate and unstoppably smooth throughout the discussion, replied simply, “Yeaah!” “What was on your mind at this time?” “Excess.”

When I asked about his favorite moment of his career thus far, Ross replied, “It’s hard to pinpoint any one moment. There were so many minor struggles that meant so much to me. Looking at those pictures, I just remember that this was a dream. A dream that I worked hard for- I set a goal and I went after it. Any artist, you can create your own destiny. That’s something that I’m a living testament to.”

Below photo: Nine-year-old Sunny Melet jumping rope at The Webster charity art auction

Thursday night at the Gussman Theater for Performing Arts gave us the premiere of a short film by the graffiti artist Neck Face, followed by a performance by SALEM. Neck Face’s film, Born Under A Bad Sign, was mediocre if passable, but did end with a Kung-Fu street battle between a sworded man in a massive and delicately exquisite carved headpiece, and a tiny Asian woman who ended up having her neck slit, true to Neck Face’s frightening style.

SALEM subsequently took over the stage, filling it with soft, dense smoke, each member appearing witchy and swaying under alternating spotlights. Their gothic hip-hop chants (“If you can’t beat your bitch/Then you don’t need your bitch”) were delightfully contrasted with the decor of the restored Gussman, which is an odd mix of baroque/Mediterranean/gothic, but nonetheless lavishly beautiful.

Later in the night, The Black Lips gave an out-of-control performance at the Toyota Antics party at Grand Central. Guitarist Cole Alexander jumped and somersaulted into the crowd, who loved every moment of the rowdy spectacle. Backstage, Alexander was just as hyperactive, bopping and constantly moving around, clothed all in bright green. “Basel is kinda pretentious,” he said. “but I like art, so whatever.” Lead singer Jared Swilley commented “We are probably the greatest artists at Basel. Also, period. When I look in the mirror it’s considered art.”

A welcome departure from the standard holiday festivities, The Grand Street Bakery marks the debut of The Cilo at The Bakery with tonight’s opening party. Situated in the back room of the bakery, which used to house a flour cilo, The Cilo expands The Bakery’s inspired mix of new and vintage clothing, homewares and trinkets by focusing on vintage electronic accessories, including vintage turntables, speakers, receivers and Danish Modern record buffets circa the ’60s. I was lucky enough to have a little sneak preview last week, and they’re truly beautiful. Among the “new” offerings are candles in the shape of Morrissey’s head, each hand carved by Derrick Cruz of Black Sheep & Prodigal Sons. Additionally, vinyls will be available from local bands, including the Wild Yaks, the Minks and Miles Benjamin Anthony Robinson, who will be performing tonight at the opening along with Anyways It’s Monday.

The Cilo at The Bakery is located at 602 Grand Street, Brooklyn, NYC. Its opening party is tonight, December 16, from 7pm-11pm.

At the entrance of Design Miami this year, onlookers gawked at the dreamscape installation – the latest in a series of design/artist collaborations spearheaded by Silvia Fendi. After three years of bold projects at the Fair, the design stalwart called upon Berlin-based design visionaries Sebastian Neeb and Elisa Strozyk this year to create “Craft Alchemy.” Inspired by the 300-year-old Neo Classical Fendi Palazzo, the duo used recycled leather from Fendi’s warehouse to recreate Baroque furniture replicas – or their deconstructed “twins” – an act of alchemy indeed, an homage to classical craftsmanship and brazen metamorphosis. What arose was a sumptuous mise-en-scene installation populated by ethereal hybrid furniture creatures – a space infused with childlike wonder and curious tensions. A fantasy Pallazzo of avian commodes and angled tables, wooden cabinets spooling leather pools and legless pianos were scattered and suspended by threads, fastened in leather or placed in conspicuous. Traditional craft of the past became tactile, living entities, re-imagined and re-contextualized, as wood morphed into undulating leather. And so we saw the very act of alchemy – not only of materials but concerning the artistic endeavor at large – to transform, transfigure, and transcend temporal, material and formal limitations.

Sebastian Neeb and Elisa Strozyk’s shared reverence for Enlightenment era craftsmanship, fantasy and the unexpected pushed them to experiment with this space, creating an imagined narrative to inform the work.
“We created our own story and space within the Palazzo – an imagined place.. It was a secret room, sealed for 300 years,” explained Neeb, describing a certain spirit that “had seeped into the furniture.“ Certainly the space, these works, possessed a particular vitality – with knotted appendages, undulating skins busting from seams, commodes suspended like clumsy marionettes. Half-deflated cabinets spewed macramé, hovering like ghosts from the ceiling- an exact replica of a similar roll-top drawer in Berlin’s Museum of Decorative Arts —made entirely of leather. Ornate Baroque tables floated, mischievous and rigid consoles melted and puddled into tidal sweeps. A creased angular table squatted at the entrance, crafted of yellow leather and knock-kneed, “a little troublemaker,” dubbed by one onlooker. Nearby a hung commode seemed to be an eerie apparition held on an intricate web. In the Collectors Lounge were legless pianos, which the couple scavenged from a piano graveyard in Miami- the wood tarnished, the keys peeled back- the top lined with woven leather cushions. Aside from a curvy baroque dresser that they bought on eBay, the pieces are all handcrafted and modeled after those by the 18th century German cabinetmakers Abraham and David Roentgen, whose clients included Marie Antoinette and Empress Catherine.

Fendi itself has an aesthetic ethos that fuses old and new, hard and soft, combining tradition with innovation. At the intersection of classical craftsmanship and brazen innovation, these works cleave to this tension. Fendi as a brand likes to push and challenge ourselves. “This show forces us to ask what are things made of- it plays with illusion and metamorphosis,” remarked Silvia Fendi, describing it as a process with its own vitality and pulse, one that unfolds freely. “We believe in creativity without interruption or limits. We don’t try to control anything. This is not about marketing. They aren’t creating merchandise for a collection. These are limited one-off editions. It is about creativity in its purist form.”

“We hadn’t worked with leather before this,” admitted Neeb at his bustling booth. The couple visited the leather workshop in Florence, where they selected discarded leather for the project and took in the age-old craft of leatherwork. “We learned what we could, but had to create our own process – an evolving one full of the unexpected. A new fusion of material and ideas.”

Mimicking the ornamental and immaculate craftsmanship of the 18th Century, these replicas used whimsy and brazen design, comedy and movement to express something fresh. Herringbone parquet floors and embroidered stencil frames, as well as meticulous attention to highly wrought ornamentation allowed them to remain loyal to the period and classical sensibility, an ethos that matches with the identity of Fendi, which strives for experiment and innovation, yet roots itself in classical craftsmanship. 
Said Neeb of the process: “We began with these pieces of furniture from another era – the golden age of craftwork.” After studying the forms with fastidious mimicry, they began to recreate this world. “They all started out as copies and became these unexpected objects. They turned into these living things. They are like animals, almost. Each has its own life.”

The show also focused on the efficacy and import of material and its possibility. “We imagine these materials fighting against each other, coming to life” remarked artist Elisa Strozyk. The tension is palpable as hard wood morphed into breathing, tactile swaths. One cabinet seemed to be bursting at its seems in leather bulges, as if is “puffing its way out” of its old body, and supple leather seeped out from busted seams overtaking wooden frames, or erupting alongside melting drawers. The Berlin-based couple, recently lauded for their Accordion Cabinet design, is part of the installation’s live, real time performance. Within the interior, populated by curious and sumptuous forms, was their workshop. Surrounded by bustling hoards, with fastidious, almost trancelike concentration, they worked meticulously – stitching and embossing, carving wood and birthing tactile, contemporary twins of the Baroque relics. Throughout the duration of the fair, the Berlin-based couple continued to transform and populate this stage. In a trance of fastidious craftsmanship, politely answering questions from time to time, they produced five new pieces, catering to ogling onlookers. To watch the work in action, is to see objects spring to life, as if by their own volition. The alchemist transforms and thus embodies the full role of the artist. Salvaged antique relics become heaving, breathing designs of the future, dreamlike, curious and teeming with life.

Throughout the fair, Silvia Fendi was on hand encouraging guests to spend time with these pieces and the artists at the fair, to watch them work and take time with these intricate works. “Look up into them. Touch them. This is about interaction. Collaboration. The creative act.”

While the showcase is not for sale, The Fendi Foundation for Limited Edition Design plans to stage an exhibit in Rome next year featuring all of its one-of-a-kind Design Miami and Fatto a Mano for the Future collaborations.


As things wind down at Basel, here are some final shots of parties, the fair, and Miami itself.

Above photo: Monday, December 5: Leaving Miami 

Sunday, December 4: Art Basel Miami Beach 

Click “Read More” for additional images.

Sunday, December 4: Art Basel Miami Beach 

Sunday, December 4: She Got Her Man, Art Basel Miami Beach fair

Sunday, December 4: Lazy barbeque, Standard Hotel

Sunday, December 5: Cabaret at the Paris Paris party at the Shelbourne Hotel 

Monday, December 5: Lobby of the Shelbourne Hotel, 4 am

Maybe more interesting than what happens at the Art Basel Miami Beach fair during the day is what happens at night during the parties. Here are photos from some of those events that have taken place over the past few days.

Above photo: Friday, December 2: Gagosian Gallery party at The Standard Hotel

Thursday, December 1: The X-Patsys (Robert Longo, Barbara Sukowa and Jon Kessler) performing at The New World Symphony

Click “Read More” for additional images.

Friday, December 2: Visionaire party at The Delano Hotel 

Thursday, December 1: Le Baron Miami at The Delano Hotel, late night

Thursday, December 1: A Frank Ghery-designed building at the Performa Ten Great Years Celebration

Friday, December 2: Dzine installation launch, hosted by Andre Balazs and with Kanon Vodka at The Standard Hotel

Saturday, December 3: Jerry’s Diner, 5:30 am

The Still House Group is an artist-run arts community based in New York. Founded in 2007 by Isaac Brest and Alex Perweiler, they have produced numerous exhibitions in New York and Los Angeles. This Friday, December 2, they will present Riffraff, a show curated by Cecelia Stucker, in Miami. The reception will be from 7-9 pm at 23NE 25 St. in Wynwood. These photos were taken during June and July of this year by Peter Sutherland, the collective’s first resident. To see more images, click “Read More.”

“Beauty is in the eye of the beholder.” So the idiom goes, anyway. I began to ponder the expression as I watched the real life mannequins of Perfect Prototype, Kinematik’s performance dance piece, scoot crab-like across the floor of the John Ryan Theater in Dumbo. Each of the six women was dressed monochromatically in black, with jet bobs cutting hard against their geisha-powdered faces. Their limbs wrenched robotically as they yanked prosthetic limbs from Tiffany blue bags and tried them on for size.  All the while clips from Nip/Tuck, Access Hollywood, and America’s Next Top Model reeled on an antenna TV in the background.

Was this beautiful, I asked myself—people scrambling for perfection? After all, I have eyes and I believe that as an audience member I qualified as a “beholder.” These mimes were unequivocally creepy. Aesthetically, they were less than pleasing. And what is an idiom, really? It’s just a phrase that is peculiar to a specific demographic, a string of words that has no obvious meaning. Basically, an idiom is just nonsense, charming people with its clever little mask.

Yet, this is the “wisdom” that mothers share with their daughters as they trudge through the psychological quicksand of puberty. Teenage girls look in the mirror and realize that although they’ve grown breasts, they don’t look anything like Barbie, the sham model of the “everywoman” who had been thrust into their hands before they even learned what a breast was.  Barbie, a doll who if brought to life would be anatomically impossible, has become the ideal. With her back-breaking boobs, ridiculous waist-hip and leg-to-body ratios, she’d be unable to stand-up on her own two, slivery feet. Is it any wonder then that in 2010 about 9 million women opted for the knife, needle, or laser—this number accounting for 92% of all cosmetic procedures[1]? Sure, Mom’s recycled 2-cents on beauty is sweet. But, who are we going to believe: a loving parent, or Barbie and her imitators on TV?

The latter, of course. Leggy, anime facial features, double F-cups: that’s the American dream. Beauty, it turns out, isn’t subjective; it’s a standard that is instated by pop culture. We as Americans are so used to Barbie iconoclasm that it actually makes sense to us. Of course we think it’s “normal” for women to want to be toothpicks (yet miraculously busty) and have upturned noses. Have you ever wondered, though, how it looks to an outsider?

A couple of weeks ago, I had the privilege of meeting the young and über-talented Svea Schneider, who is not only a dancer but also the choreographer and the brains behind Perfect Prototype. Originally from the French border town of Landau, Germany, Schneider came to the United States in 2003 to attend class at the Broadway Dance Center, and is now officially a New Yorker thanks to an O1 Visa for People with Extraordinary Ability. Ms. Schneider has had a front row seat to the American media spectacular for over 8 years now and she has a lot to say about the intoxicating deluge of images to which we females are suggested to conform. The dance, which debuted at last year’s Jazz Choreography Enterprises’ annual showcase, is a concerned, satirical portrayal of just that.

“I can definitely say that the obsession for the perfect body aesthetic is much more developed and exaggerated in the US,” states Schneider, a woman who hails from what seems to me to be the motherland of human Aphrodites: Claudia Schiffer, Heidi Klum, Diane Kruger, among others. So, why is she finger-pointing? Is she being hypocritical? No, I decided. She’s not. It’s not that Germany and other countries don’t admire beautiful women, it’s just that they don’t necessarily glorify them. While hairstyles and clothing may be emulated, non-American women are less likely to go to extreme measures to look like a pinup. And Schneider thinks that she may know the reason.

“As far as plastic surgery is concerned, it is most definitely more readily available and popular in the US than I imagine anywhere else in the world,” Schneider says, continuing, “This might have to do with the fact that the big film industry and Hollywood are in the US. I find it kind of scary how alike everyone looks in Hollywood. Yes, some are blonde and some are redheads, but besides these minor differences, mostly everyone looks the same.”

That’s because everyone wants to look like a model—a prototype—eschewing individuality to blend in with the crowd, trading in the genetic for the generic. Even if that means being physically compromised or just straight-up unhealthy. At one point during the show, one of the more petite women hobbles around on a plastic leg that has been plucked from the pelvic socket of a 6-foot tall mannequin. Another mock-vomits in the corner. Is she nauseated by the charade in which she’s participating, or is she just bulimic in pursuit of the magical size 0?

Revolting? Yes, but that’s the point. It’s very much an expressionistic piece. There’s something about the women that reminds me of a post-World War I painting; it’s as if they’ve been peeled from one of George Grosz’s canvasses.  They’re fleshy automatons who have seen the future and they know the devastating capabilities of modern technology. You (women especially) pity these poor creatures because you can relate to them. On the one hand you’re deeply disturbed by what’s going in front of you, but as much as you’d like to say that it’s not an accurate portrayal of life, you can’t help but sympathize. It evokes the most primal of emotions: the need to be loved. You want to look the way the women in magazines look because the physical features of the breathing Barbie dolls are what attract others. Right?

I certainly hope that people would prefer the authentic over the artificial, but it feels like wishful thinking. I mean, there we were: three rows of individuals, most of us women, huddled in a lonely venue in the underskirt of industrial Brooklyn. Before the lights went down, Svea and her cultural comrades stripped to reveal six sweaty bodies, and six mazes of Sharpie sketches—the blueprints of plastic surgeons. As I focused on the far screen, which featured an illuminated image of the Mona Lisa fitted with the same jet bob that the dancers wore, I thought about all the stupid things that I have done in the name of so-called beauty. I thought about Mona Lisa and her infamous smirk. I thought about her mystique, the number one reason why crowds of people flood into the Louvre each and every day. They go, just to be in awe of her gaze.

Whatever happened to that kind of beauty, the one that can’t be bought, the one that can’t be explained? It can only be treasured, it seems.

Svea Schneider and Kinematik Dance Theater’s Perfect Prototype was featured in Week 3 of the 2011 Wave Rising Series. The company’s next performance will take place in the Winter of 2012.  

Above photo: Katie Weinholt