In 2014 Alex completed his PhD in musicology at NYU and published a book about the composer Robert Ashley with the designer and writer Will Holder. Alex was also an artist in the 2014 Whitney Biennial alongside Robert Ashley. He directed and staged 3 operas by Robert Ashley including an all-new live television opera version of Perfect Lives in Spanish (Vidas Perfectas). His writings have been published by Dot Dot Dot, Paregon, FoArm, Bomb, and Artforum.
Press and Reviews
"(Richard)Carrick’s relative gentleness was all but blown out of the room by Alex Waterman’s ferocious reading of Kottos, in which Iannis Xenakis asks the cellist to pressure the instrument into a sputtering explosion of harmonics and noise. The unearthly beauty produced seems borne of a planet in constant, seething turmoil, where snarling, lunging glissandi are the sounds of the day. I can’t imagine a cellist applying more dedication than what Waterman unleashed, like Bartók on steroids."
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More Kind Words:
Excerpt from Bruce Hodges' review in Seen and Heard International
(A review of the concert pictured at The Kitchen, 2007.)
With the skill and dedication of three archaeologists, Either/Or founders Richard Carrick and David Shively, with the help of cellist Alex Waterman, presented an unusually interesting look at some artifacts from the avant garde of the 1950s and 1960s (with one vault into the 1970s). Held in The Kitchen’s high-ceilinged upstairs gallery, the concert had a “turning back the clock” effect, enhanced by some pillow seating on the floor. On the walls, an exhibit co-curated by Waterman called Between Thought and Sound: Graphic Notation in Contemporary Music showed the sometimes-startling variety of composers’ visual notation, from a tightly-ordered pattern of tiny blocks, to a huge sheet of brown paper daubed with wisps of paint...
Waterman made an intelligent case for one of Morton Feldman’s shorter works, Projection 1, with typical delicate tones competing for attention with pauses. With acute attention to phrasing and dynamics, Waterman breathed uncanny life into a work that seemed over too soon.