A MOMENT ON THE CLOCK OF THE WORLD is an anthology of new writing inspired by the Foundry Theatre and its twenty-five-year inquiry into how we make the world together. Published by Haymarket Books in the fall of 2019, the book collects the voices of artists, activists, cultural critics, and public intellectuals whose life and work intersected with that of the New York City-based company throughout its history. Contributors include Cornel West, Alisa Solomon, Taylor Mac, David Greenspan, Robin D.G. Kelley, and Laura Flanders, among others.
“I Never Cared Much for Models”: The Foundry Theatre and A MOMENT ON THE CLOCK OF THE WORLD
With Melanie Joseph and David Bruin
Jan. 28, 2020 2-3pm // 220 York Street, room 001 (basement level)
This presentation will feature the book’s co-editors Melanie Joseph, the Foundry’s founder and one of the contributors, and David Bruin. The two editors will read selections from the book and reflect on the project and its central themes, such as collaboration, leadership, time, and the many intersections of art and politics. A robust Q&A will follow.
You can read the preface to the book, written by Cornel West, here.
Recent articles about the Foundry and the book include:
Melanie Joseph is the founding artistic producer of the Foundry Theatre, which she has led for twenty-five years. For her work with the Foundry, she has twice been honored with a special Obie for “creating cutting edge work” and “engaging artists in some of the thorniest issues of the world we inhabit.” She is a recipient of the Doris Duke Artist Prize, the Skirball-Kenis T.I.M.E. Artist prize, and the Lucille Lortel Award for Artistic Producing.
David Bruin is a dramaturg, producer, critic, and the co-curator of the annual Prelude Festival at CUNY’s Martin E. Segal Center. As a dramaturg and producer he has collaborated with Jeremy O. Harris, Erin Markey, Robert Woodruff, Liz Diamond, Jeff Augustin, and Asa Horvitz, among others. He is a DFA candidate in dramaturgy and dramatic criticism at Yale School of Drama, where his dissertation project analyzes the role of abjection in contemporary American theater and performance.