Vanessa Anspaugh is among the thought-provoking artists scheduled for 2014.
— The New York Times
…Anspaugh, a Stand Out!
— Art Fourm
Ms.Anspaugh’s Armed Guard Garden draws the viewer in immediately and never lets go.
— The New York Times
Ms. Anspaugh is not rooting for the end of men in her meandering work. She wants to make a better man.
— The New York Times
Anspaugh is a young choreographer who has shown a talent for turning odd behavior, an architectural sense of composition, and familiar ideas of the self and the other into attention-holding theatre.
— The New Yorker
Vanessa’s piece is busting at the seams with a kind of bizarrely wild, Technicolored melo-drama…..a celebration of the parts of self & other that can only exist in the queer, in-between spaces that arise when The Known crumbles.
— Culture Bot
An all-male cast hardly seems to scream “feminism” to the casual viewer, but the patriarchal structures of dance have long rested on all- or mostly-female troupes of willowy girls in tutus, their movements decided by a male choreographer with his own vision that, unlike an individual dancer’s performance, can live forever. In “The End of Men,” audiences will only see men onstage, but the more powerful force — the guiding consciousness — will be that of Anspaugh.
— The Huffington Post
What a family this is, as casts go, can you top Vanessa Anspaugh, Aretha Aoki.. and Molly Leiber?
— The New York Times
Deserving of repeat viewings, Anspaugh has a talent for compelling rapt attention from relatively quiet moments …Anspaugh’s work feels like “Dance” to me in a rare and special way….everything feels carefully chosen and meaningful.
— The Brooklyn Rail
visually, quieting and quietly dislocating
— Culture Bot
The Joyce Theater’s “Joyce Unleashed” series sponsors two talented and youngish choreographers in separate spaces… Vanessa Anspaugh in The End of Men; An Ode to Ocean
— The New Yorker