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Thursday, November 6, 2014

In Context: Oxbow

Ivy Baldwin's Oxbow runs at BAM from November 13—16. Context is everything, so get even closer to the show with this curated selection of articles, interviews, and videos related to the production. Once you've seen it, help us keep the conversation going by telling us what you thought below.

Program Notes

Oxbow (PDF)


Ivy Baldwin Dance
The place for all things Ivy Baldwin.

Ivy Baldwin Dance's Oxbow—A Visual Thriller
On Ivy Baldwin Dance's history of artistic collaboration and unique environmental design.

Five Questions for Ursula Eagly and Ivy Baldwin (Culturebot)
Baldwin talks about mounting a playground production of Cabaret for her fourth grade classmates and more.

The Glass House: Ivy Baldwin in conversation with Michael Bodel (Movement Research)
Baldwin discusses her work Ambient Cowboy, inspired by Philip Johnson's iconic glass house.

Blog Interview
Artist Profile: Ivy Baldwin
Rachel Kushner’s The Flamethrowers, Neruda poems, and collage art from the 30s and 40s are currently on Baldwin's bedside table.

Wade Kavanaugh and Stephen B. Nguyen
View works by the Oxbow artists.

Installations by Wade Kavanaugh and Stephen B. Nguyen (Juxtapoz)
Floor-to-ceiling paper magic.


Rush to Rest: Wade Kavanaugh & Stephen B. Nguyen (YouTube)
Of course you can use a chainsaw to cut cardboard.

Wade Kavanaugh and Stephen B. Nguyen: Glacier (YouTube)
Time lapse videos of Kavanaugh and Nguyen sculptures coming to life.

Now your turn...

So how did you enjoy the show? Likes? Dislikes? Surprises? Tell us what's on your mind in the comments below.


  1. What do I think about the show? I don't know because I'm not seeing the show until this coming Sunday.

  2. I always try to pick a few shows each Next Wave Festival that I know might be hit or miss. Oxbow was one such performance. There were moments that were hits: the wonderful set design of massive tree roots; the opportunity to be sitting so close to the dancers that you could hear their controlled breathing and the actual sounds of their bodies in motion; moments of memorable choreography such as the dancers laying on the ground in a row, rolling across the front of the stage in sensual fluidity. Misses: the choppy piano score and the overall unpolished feel of the choreography. That is not to say I thought it was bad — just that perhaps this is a piece that has not fully realized its potential. And that is exactly what I think the Fisher space is great for: giving promising creatives a chance to show their work and use the experience to further their craft. It takes a lot of courage to put a piece before an audience in such an intimate space, and I applaud and respect that. (And on a side note, it is always fun to walk into the Fisher's black box space and see how it is configured differently for each show.)


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