AGE & BEAUTY, parts 1 & 2 (Miguel Gutierrez/ FringeArts): Choreographing the harsh realities of being a working artist
By Brendan Tetsuo
Phindie, November 19, 2015

"This brilliant dichotomy of performance polarizes our attention creating a platform of decision making that is both incredibly frustrating and a harsh realization of the world we live in."

REVIEW: "Deep South"
By Carrie Sideman
Herald-Tribune, November 7th, 2015

"Gutierrez dancing free-form under the light of a street lamp outside a Merle Norman cosmetics boutique; a soft piano accompaniment as the green of a Southern landscape is gradually obscured by a rainstorm;"

The Evolution of the Queer Dancer
By Jaime Shearn Coan
The Brooklyn Rail, November 5th, 2015

"I’m not sure how to write about Gutierrez’s work: I don’t want to come across as fawning or condescending. It’s been three weeks since I attended his marathon performance at Bard—I still have a spot of pink polish on my left thumb."

Queer Bodies, Obedience, and Aging in Crossing the Line Festival
By Paul David Young
Hyperallergic, October 17th, 2015

"Miguel Gutierrez is nominally a dancer and choreographer, though his three-part epic, Age and Beauty, which was presented at New York Live Arts, frequently looks and sounds like theater."

Review: In ‘Age & Beauty,’ Miguel Gutierrez Ponders the Personal and the Professional
By Gia Kourlas
The New York Times, September 20th, 2015

"Describing the project, he writes: 'We cling to our youth, get mad that it’s over and then infuse what we do with the brilliance, love and anger about that.' You don’t have to be an artist to relate: 'Age & Beauty' is about life."

Review: Miguel Gutierrez’s Deep Questions in ‘Age & Beauty Part 3’
By Gia Kourlas
The New York Times, September 17th, 2015

"Despite a scene in which the cast frolics on the gels as if they were autumn leaves — it’s too much like playtime — there’s an ancient and methodical drive to this affecting piece. During a recorded loop of “Do you worry about the future?” the dancers glide in and out of formations while lightly clapping their hands. It feels like worship."

From the Prosaic, Evoking a Sadness Under the Surface
By Brian Seibert
The New York Times, January 13th, 2015

"The choreographer participates in its typically fun and clever songs, but he gives the spotlight to Ms. Boulé and his longtime lighting designer, Lenore Doxsee. The big diva moment goes to Mr. Pryor."

By Jaime Shearn Coan
The Brooklyn Rail, February 5th, 2015

"This decentering of the choreographer is a fitting gesture for a piece that attempts to deconstruct the myth of the muse ... as well as to expose the working conditions and relationships between Gutierrez and Ben Pryor (his manager and the founder and producer of American Realness)."

Who’s Afraid of the Old, Gay Dancer?
By Brian Schaefer
Out Magazine, April 25, 2014

"When it comes to respecting our elders, society is shamefully dismissive. In the case of the gay community, this is doubly rotten since our forbearers bravely bushwhacked the social jungle on our behalf."

Mixing and Matching Youth and Middle Age, and Sequins and Tulle
By Brian Seibert
The New York Times, April 25, 2014

"He sang. He sang into a microphone, wearing a dress of tulle, in a kind of defiant karaoke fantasy, but more than that, he made his material sing, transmuting it into emotional expression."

The Melancholy Effects of Growing Older in Gay Culture
By Gia Kourlas
The New York Times, October 10, 2013

"In a way, 'myendlesslove' can be seen as a companion piece. Created for a producer who wanted Mr. Gutierrez to choreograph a work using video, 'myendlesslove' is another personal excavation, this time inspired by a terrible breakup."

TBA Diaries: Miguel Gutierrez and the Powerful People, And lose the name of action
By Rebecca Jacobson
Willamette Week, September 19, 2013

"Using his father's neurological problems as a launching pad, Gutierrez has created a piece that purports to explore the mind-body connection or, rather, the mind-body disconnection."

The Knife’s Live Shows Are Going to Be Weird as Hell
By Kyle McGovern
SPIN, April 22, 2013

"A handful of the band’s European gigs will begin with DEEP Aerobics (short for 'Death Electro Emo Protest Aerobics'), which the post describes as 'a workout form invented and shamelessly disseminated by Miguel Gutierrez, who hopes to soon destroy the technique, because it’s just too hard to teach, and really the world is going to hell in a hand basket anyway.'"

Miguel Gutierrez explores perception at MCA
By Sid Smith
Chicago Tribune, February 1st, 2013

"Rich, complex ideas lie behind 'And lose the name of action,' a dance-theater and multimedia piece exploring perception and how it's not completely ruled by the brain, but intertwined with the body and its interaction with the environment."

Celebrating the Unorthodox With Startling Footwork and Incessant Talk
By Alastair Macaulay
The New York Times, January 22nd, 2013

"One of these, the dancer-choreographer Miguel Gutierrez’s 50-minute 'Storing the Winter,' which I saw on Friday, proved to be my best discovery of the festival. This solo was danced to the live music of Mind Over Mirrors, also known as Jaime Fennelly, a one-man composer-player whose sound combines the harmonium with electronics."

Miguel Gutierrez's Ghostly Meanings
By Andrew Boynton
The New Yorker, December 16th, 2012

"Drawing meaning from a dance work that is to a large extent about meaning and perception is a tricky proposition; indeed, many people considered the piece indulgent and dense. But I found it to be an ambitious, engrossing rendering of the choreographer’s investigations."

'And lose the name of action' at BAM
By Alastair Macaulay
The New York Times, December 5th, 2012

"Miguel Gutierrez’s 'And lose the name of action' seeks to demonstrate facets of a mind that has come apart."

Michelle Boule, Dancer-Artist at Work
By Claudia La Rocco
The New York Times, November 23, 2012

"For the past 12 years [Ms. Boule] has been chiefly associated with Miguel Gutierrez, anchoring many of his expansive, ambitious dances. Her resonant channeling of James Dean in his 'Last Meadow' earned her a 2010 Bessie award."

Dance, Senses, and Distrust of the Body: A Frank Talk with Miguel Gutierrez
By Miguel Gutierrez as told to Michele Steinwald
Walker Art Center Magazine, September 7, 2012

"Not having an instant understanding is not a liability of dance—it’s actually this kind of anti-capitalist thing that’s built into the temporality of the form. You want this work to say “blah” to you right away. But it’s a time-based form, and it doesn’t work like that. It just isn’t going to deliver to you."

Miguel Gutierrez
By Ishmael Houston-Jones
Bomb Magazine, Fall 2012

"Last year Miguel asked me to perform in 'And lose the name of action,' which is still in progress. When I asked him why he wanted to work with me, he responded that he was tired of seeing older choreographers scoring for and dancing alongside “skinny white girls in their twenties.” Since I fit none of those criteria I guess I was a shoo-in. "

Dance Listings for Dec. 7-13
By Siobhan Burke
The New York Times, December 7, 2012

"Mr. Gutierrez’s work tends to unfold with bracing, almost destabilizing momentum, but even after that subsides, his potent images have a way of persisting in the mind."

Spinning, Leaping, Lunging, Tapping
By Siobhan Burke
The New York Times, September 6, 2012

"Six of the most sophisticated improvisers around — Michelle Boule?, Hilary Clark, Luke George, K. J. Holmes, Ishmael Houston-Jones and Mr. Gutierrez himself — come together in a new piece by this fiercely intelligent, gleefully irreverent choreographer."

Taking Steps Into the Future
By Gia Kourlas
The New York Times, August 30, 2012

“'The audience is kind of right up there with us, and in that sense it’s very intimate,' Mr. Gutierrez said. 'A huge component of my work is how it’s being seen, regardless of the stage setup.'"

The Miguel Gutierrez Interview, aka: Words on Work, Ghosts, and Sourcing at the Mothership
By Stacy Dawson Stearns
Show Box L.A., July 1, 2011

"Whether Miguel is divining exquisite ensemble dances such as Last Meadow, or inviting audience to become participants in DEEP aerobics, his works are part of an expanding body of active inquiry into the nature of material and immaterial life."

Powerful People (Dance) Director Miguel Gutierrez Comes To Town
By Benn Widdey
LAist, July 12, 2011

"Brought into our midst by Meg Wolfe's Show Box LA, the highly acclaimed and extensively awarded performer/creator will present the LA premiere of his solo, 'Heavens What Have I Done'..."

Miguel Gutierrez - Heavens What Have I Done
By Kelly Hargraves
Eye Spy LA, July 19, 2011

"'Heavens What Have I Done' has Gutierrez dress and undress the performance medium for us—explaining each bit we see while simultaneously making clear it all means little."

Dancer Sings Opera, Insults Plato and Dresses Like Marie Antoinette in L.A. Debut
By Laura Bleiberg
LA Weekly, July 18, 2011

"In 'Heavens What Have I Done,' Gutierrez obliterated the formal lines that not only safely separate the artist from the audience, but also those that divide the art from the viewer."

'Heavens,' it's Miguel Gutierrez at the Alexandria Hotel
By Susan Josephs
Los Angeles Times, July 12, 2011

"Miguel Gutierrez has danced for 24 hours straight while blindfolded in response to the wars in Iraq and Afghanistan. He invented his own existential workout form called DEEP (Death Electric Emo Protest) Aerobics. And he wrote a book of performance texts that include poems such as 'The Problem With Dancing,' which laments that the art form 'doesn't sell, doesn't last [and] doesn't mean anything.'"

Undressing the Body
By Christine Hou
The Brooklyn Rail, June 2010

"Gutierrez’s striking performance is the antithesis of 'going back to zero.' Contrary to the eradication of his identity, he flaunts it, thus serving as a testimony to Gutierrez’s severe criticality and enigmatic fearlessness."

Her Words, His Movement, Their Collaboration
By Claudia La Rocco
The New York Times, July 23, 2010

"Mr. Gutierrez, who creates emotionally raw, often hallucinatory worlds within his dances, layering movement, speech and song..."

Summer Stages Dance
By Claudia La Rocco
The New York Times, May 9, 2010

"one of today's most exciting dance artists."

Creations of the Offspring of ‘Orestes’
By Claudia La Rocco
The New York Times, December 20, 2009

"One of Ms. Keithley’s authors is Miguel Gutierrez, and a mention must be made of his Last Meadow, which ran in September at Dance Theater Workshop. The relentless, grand exploration of American culture saw Mr. Gutierrez reaching for new heights. His undeniable star was the stellar dancer Michelle Boulé, whose haunting portrayal of James Dean showed her to be every inch an actor as well and just might have been the revelation of the year."

Miguel Gutierrez and the Powerful People
By Eva Yaa Asantewaa
Dance Magazine, September, 2009

"His political and creative restlessness—his refusal to settle and to settle down—makes him one of our most provocative and necessary artistic voices."

A Hollywood Rebel, Reimagined
By Claudia La Rocco
The New York Times, September 17, 2009

"Miguel Gutierrez and the Powerful People explore the slick, seductive nature of film in this dark, emotionally explosive hothouse of a dance at Dance Theater Workshop."

Last Meadow explores James Dean, love triangles and the collapse of America.
By Gia Kourlas
Time Out New York, Sep 10–16, 2009

“Last Meadow (which will be performed at Dance Theater Workshop beginning Tuesday 15) takes on Dean’s seductive quality in East of Eden, Rebel Without a Cause and Giant, while also playing with the idea of a love triangle. Gutierrez, 38, spoke about his new work—his first large-scale production in two years—and his hope to create something from another world.”

THE NEW SEASON | DANCE; Leaps, Bounds, Birthdays, Despite Belt Tightening
By Claudia La Rocco
The New York Times, September 13, 2009

"This powerful, dark interrogation into an America on the verge of disaster draws on James Dean and features the knockout cast of Michelle Boulé, Tarek Halaby and Mr. Gutierrez"

Across the Country, Dancing in Solidarity for 24 Grueling Hours
By Claudia La Rocco
The New York Times, December 29, 2008

“In a way he’s saying dance can’t do anything for the world. Yet everything he does with his teaching and work says the opposite, which is: Dance can change us, and then we can change the world.” – Jesse Zaritt

Miguel Gutierrez in conversation with Eva Yaa Asantewaa
InfiniteBody, December 16, 2007

Listen to Miguel and Eva Ya Asantewaa talk about "Everyone."

DANCE | Back to the Days of Painting With Dancing Feet
By Claudia La Rocco
The New York Times, October 27, 2007

''The word doesn't somehow acknowledge the different strategies people are using to think about or create their work,'' Miguel Gutierrez explained, referring to choreography. ''If 'choreography' is simply about the arrangement of bodies in graphic space, then no, this doesn't adequately describe what I am interested in.''

Funny, You Don’t Look Dancerish
By Claudia La Rocco
The New York Times, May 20, 2007

“When I talk to people who are not in the dance world and I say I make dances, they immediately assume that I’m in a constant state of exercising,” said Miguel Guttierrez, a New York choreographer. “People think dancer equals person who moves, not artist.”

Probing the Charged Intersection of Action and Analysis
By Claudia La Rocco
The New York Times, March 3, 2007

At a time when so much art lacks a heartbeat, Mr. Gutierrez’s chest pounds. “Everyone,” his newest dance for his group, the Powerful People, is another adrenaline burst, smart and moving and full of questions, the way only real art can be.

By Claudia La Rocco
The New York Times, June 2, 2006

"The work, above, which probes the performer's relationship to the audience, contains nudity, but far more revealing is Mr. Gutierrez's baring of his mental and emotional landscape; a shifting, fragile terrain that seems to consist equally of bravado and vulnerability."

Learning Not to Believe What You're Seeing
By Claudia La Rocco
The New York Times, December 3, 2005

"distorted, layered, looped, obscured and laid bare."