Claudia La Rocco is a writer whose work frequently revolves around interdisciplinary projects and collaborations. She is the author of The Best Most Useless Dress (Badlands Unlimited), selected poetry, performance texts, images and criticism; and the novel petit cadeau, published by The Chocolate Factory Theater as a print edition of one and a four-day, interdisciplinary live edition. She edited I Don’t Poem: An Anthology of Painters (Off the Park Press) and Dancers, Buildings and People in the Streets, the catalogue for Danspace Projectʼs PLATFORM 2015, for which she was guest artist curator. La Rocco’s poetry and prose have been published in such anthologies as 6X6 #34: I Like Softness (Ugly Duckling Presse),Imagined Theatres: Writing for a theoretical stage (Daniel Sack, ed; Routledge), and On Value (Ralph Lemon, ed; Triple Canopy). Her work has been presented by The Walker Art Center, The Kitchen, The Whitney Museum of American Art, et al. She has received grants from the Doris Duke Charitable Foundation and Creative Capital/Warhol Foundation, and had residencies at such places as Headlands Center for the Arts, Lower Manhattan Cultural Council, and On the Boards theater. She teaches and lectures widely, including at Princeton University, the School of Visual Arts, San Francisco Ballet, and Tokyo’s Dance New Air festival; and has bylines in numerous publications, including ARTFORUM, BOMB, East of Borneo, and The New York Times, where she was a dance and theater critic and reporter from 2005 to 2015. La Rocco founded the social and online criticism collective The Performance Club, and is editor in chief of SFMOMA’s art and culture platform Open Space.
Anna Martine Whitehead received her MFA in Social Practice from California College of the Arts, and has been presented by venues including the San José Museum of Art; Velocity Dance Center; Watts Towers Art Center; Chicago Cultural Center; AUNTS; Pieter pasd; Yerba Buena Center for the Arts; HomeLA; CounterPULSE; and the Hemispheric Institute for Performance and Politics. She has developed her craft by working in close collaboration with Onye Ozuzu, Jefferson Pinder, taisha paggett, Thomas Teurlais, Every house has a door, Keith Hennessy, BodyCartography Project, Julien Prévieux, Jesse Hewit, and the Prison + Neighborhood Art Project, among others. Martine has written about blackness, queerness, and bodies in action for Art21 Magazine, C Magazine, frieze, Art Practical; and contributed chapters to a range of publications including most recently Meanings and Makings of Queer Dance (Oxford, 2017). She has received generous support from Chicago Dancemakers Forum, the Foundation for Contemporary Arts, DCASE, and Chances Dances Critical Fierceness; and has been supported most recently by residencies at Headlands, Pivot Arts, University of Michigan, University of Illinois Urbana-Champaign, Links Hall, Djerassi, and High Concept Labs. Martine is the author of TREASURE | My Black Rupture (Thread Makes Blanket, 2016). Martine teaches at the School of the Art Institute of Chicago. Find out more at annamartine.com.