Curator Blair Murphy writes about the ways we work: Talk to ten different visual artists in the DC area and you're likely to hear about ten different working situations, from former auto body shops to corners of studio apartments.

"When I applied for the Commission it was just supposed to be a story about the eruption of Mt. Pinatubo... As I started creating, the idea came to connect the volcanic eruption to other kinds of environmental destruction."

Theater artist Anne Veal writes about the creative process of writing and producing La Rinascita Theatre's new adaptation of Oresteia, which opens February 10th, 2010 at the Capital Hill Arts Workshop.

"Archival policies for the field need to be developed, both to ensure preservation and performance of important works, and to encourage the necessary funding mechanisms."

"Why didn't you give my child anything to dance?" she hissed, "there was not one dance step in that role!"

Here are some notes from the Washington Project for the Arts panel discussion: Running for Cover(age), which proceeded from an expose on Washington's isolated artists. (Image by Jessica Yang from the Art in America coverage of the event.)

Alison Friedman discusses why one modern Chinese dance performance does not represent China, or Chinese society, but does represent our shallow understanding of world dance.

Beau Finley, electronic musician and record producer answers "What is Music?"

Katrina Toews, Director of the Washington Ballet's program at THEARC writes about creating a real ballet training program within what has been an "outreach" community.

Jonathan Carrington, Executive Director of Dissonance Dance Theater, writes about the problems of white teachers bringing traditionally white dance forms to minority communities.