Johanna Kunin’s “Still” was interpreted by visual artist Travis Morehead, poet Leah Souffrant, and painter Élisabeth Eudes-Pascal.
Matt Dabrowiak’s “The Stack” was interpreted by photographers Trygve Skogrand and Roberta Orlando and painter Maria Kretova-Babich.
Jam’Or’s “Torn” was interpreted by writer Kimberly Cooper, painter Edna Cantoral Acosta, and visual artist Robyn Ellenbogen.
Andrew Conklin’s “Root” was interpreted by visual artists Ilke Ilter and Madeleine Aleman.
Miranda Driessen’s “Eva” was interpreted by sculptor Mary Blakemore and video artist Ben Fee.
Alejandro Magaña Aviña’s “Danza Cíclica en la Rueda de los Días” was interpreted by visual artists Sahar Hakimi, Beryl Brenner, and Elizabeth Keithline.
Stelth Ulvang’s “Echo of an End” was interpreted by dancer Micaela Mamede, poet Herbert J. Wimmer, and painter Derrick Breidenthal.
Kora Karuna’s “O Flying Book” was interpreted by painter Maria Rosa Benso and photographer Sarah Fjørtoft.
Wes Covey’s “Transmit” was interpreted by writer Calyn Kelly and sculptor Panos Dimitropoulos.
[At 80 tracks, Ball of Wax 64 is somewhat more sprawling than usual, but fortunately each work (except for the final one) has been carefully interpreted in at least one other art form. So in lieu of overly taxing our volunteer reviewers, we will share each track along with the works that followed from it, as viewable at the TELEPHONE exhibit.]
Dustin Hamman’s “Shade for Days” was interpreted by visual artists Froso Papadimitriou, Chris Ivory, and Casey Kelbaugh; and writer Charlie Levine.
