In HOLDING BLUE at Regen Projects, Catherine Opie embarks on a quintessential quest through Nordic territory in search of the blue hour. Part meditative, part symbolic, this series of mountain portraits—gigantic natural elements suspended between earth and sky—transports the viewer

During New York City Ballet’s four-dance program, the opening night audience was treated to a marvelous demonstration of the company’s strengths—their exquisite grace and precision, even to the edge of abandon.

Listening to Yefim Bronfman’s breathtaking recital at the Walt Disney Concert Hall this past March, one is led to wonder whether genius is inherited—embedded in one’s DNA—or whether it can emerge through discipline, labor, and profound artistic influences.

Join filmmakers Harry Dodge, Silas Howard, and Steak House for special 4K restoration screenings of BY HOOK OR BY CROOK, an essential missing link in cinema’s buddy-film genre.

An unusual visitation occurred this past week when Sara Sachs presented a rare public engagement of a performance work titled LYING, a “choreographed, singing sculpture” that found, for four nights, a suitable home at New Theater Hollywood.

AKHNATEN transports us into an ancient, nearly forgotten civilization, where time, space, color, and form operate differently—still mysterious, still elusive. A world we can only imagine, and dream—exactly what art, at its best, allows us to do.

FALSTAFF is a operatic marvel of comic invention where nearly every line of the libretto is some form of false flattery.

ERUPCJA—a descendant of the narrated works of Varda, Godard, Rohmer, et al, that delights in and pays tribute to the mythologies we create around the poetry of happenstance—is a chosen-family affair joining the writing and acting talents of Charli xcx,

Director Mascha Schilinski’s SOUND OF FALLING—an affective incantation of images and narrative voices—illuminates memory’s unreliability with imaginative force and style.

On December 19, 1974, enlisted by writer Linda Rosenkrantz to describe the previous day for posterity, Peter Hujar accidentally captures an entire world in a few hours of considered recollection—now given elegiac, 76-minute form by Ira Sachs in his moving