ABSTRACT
Our interview with Philip took place via Skype in March of 2018. I [Bertie] had met Philip in person on previous occasions. In particular, he had participated in a roundtable on contemporary curating practices convened by Wesleyan University’s Institute for Curatorial Practice in Performance (ICPP) at the Association of Performing Arts Professionals (APAP) years prior that I had attended. At the time, thinking “outside the box” in relation to season programming—both literally and figuratively—was not the norm, especially in the United States. Our conversation with Philip spanned his career navigating institutions, artists’ needs, and developing publics.
