Long-form writing

Essays and articles on art, culture, and design.

 

 

Independent projects

Newsletter

The Gym is my occasional newsletter on intersections of design, language, and embodied experience since 2018. Read the archives or subscribe.

Slow arts journalism

Marking is an approximately quarterly annual experiment in the form of a single essay, published online, with physical postcard notifications. Subscribe to notifications and read the essay at markingit.org.

 

Arts journalism

Sightlines

I wrote just one piece for Sightlines, but it was an important one: The De-choreographed Body: Works by Deborah Hay documented the 2023 homecoming of Hay’s major work to Austin and used it as a jumping-off point for layers of reflection on her influence, our city, and my own work.

The Austin Chronicle

From 2007 to 2018, I covered dance, performance, and occasionally literature for Austin’s independent alt-weekly newspaper.

I believe that the arts beat—the chronicle of cultural sidenotes, expressions, and nonliteral ideas—is as essential to humanity and democracy as any other beat. A handful of cases in point:

 
Austin Chronicle cover showing a black-and-white portrait of a bald woman in profile. The words It All Falls Away cascade down her neck.

Cover image by Todd V. Wolfson

Austin Chronicle cover showing a group of dancers sitting and hanging on scaffolding, which is lit in purple and blue against a dusky sky. The words Remain in Light are centered on the page.

Cover photo by Sandy Carson

 

My author archive includes all 178 reviews, interviews, profiles, and studio visits. From 2007–2017, I also served on the Austin Critics Table.

Book chapter

My chapter “Movement on Record: Poetry, Presence, Radicalism” is part of the Bloomsbury Handbook of Dance and Philosophy, instigated by a conference presentation.

Fjord Review

From 2016 to 2018, I was the Austin correspondent for Fjord, an international dance publication based in Toronto, Canada. My articles and reviews covered Ballet Austin, Fusebox Festival, and the Dance USA conference.

  • In The Talk, I discuss some problems with post-performance panels and point to some innovations and solutions that could make them better.

  • Irreverence, in Coats memorializes the first performance of the acclaimed Frank Wo/Men Collective.

  • Glitter Garden was about the communal beauty that, as Americans, we continue to literally shoot down.

Etc.

Before all that, I wrote for AdobeAirstream, Dance Europe, Ballet Review, the Denver Westword, and Dance Magazine.