Jack Ferver has been creating full-length works since 2007. He has been presented at The New Museum (NYC), Danspace Project (NYC), P.S. 122 (NYC), Dixon Place (NYC), and Théâtre de Vanves (Paris). His work has been written about in The New York Times, The Financial Times (UK and US), The New Yorker, Artforum, Modern Painters, and Dance Magazine. Ferver’s Rumble Ghost premiered at PS 122 in 2010, and was brought back for their COIL Festival in 2011. His A Movie Star Needs A Movie was commissioned by The New Museum in 2009. It was also presented in American Realness at Abrons Art Center and at Théâtre de Vanves in 2010. He was the first choreographer to be presented at The New Museum with I Am Trying to Hear Myself in 2008. He remounted the work at PS 122 in 2009. In 2009 he also premiered his evening length work Death is Certain to sold out audiences at Danspace Project. Death is Certain was workshopped through the Dance Theater Workshop space grant, Studio Series. Ferver was also an artist in residence from 2008-2009 at Chez Bushwick. In 2008 Ferver premiered MEAT, his second Mondo Cané! commission from Dixon Place. Ferver’s first Mondo Cané! commission was in 2007 for his first full length work: When We Were Young And Filled With Fear. Shorter and solo works have been presented at Dance New Amsterdam (NYC), LaMaMa E.T.C. (NYC), The Culture Project (NYC), and Envoy Gallery (NYC). As an actor, credits include Strangers With Candy (Comedy Central), Christopher Durang's Betty's Summer Vacation (Off-Broadway), and numerous other film and theatre projects. His writing was recently published in the magazine Novembre.
Jack Ferver’s work has been described as “restless, visceral, and often painful... as sympathetic as it is bitingly corrosive” by Claudia LaRocco of the New York Times. His relentless hunt for the truths about the human psyche are worked out in his performances that use high octane, often violent choreography and exacting scripts moving from confessional monologues to “hyper-real” dialogues. His exploration of the twists and turns of the mind, are explored from the macro, with his continual study of psychology, to the micro, as he draws from his own persona and that of his performers. Through this, the flimsy membrane between the performer and the character they play gives way in front of the audience, as Ferver shows us what we are all capable of with an unflinching eye.
“Best dance of 2009” - David Velasco, Artforum
"With his mad blue Bette Davis eyes and penchant for public suffering, he is good at making a spectacle of himself, and- more to the point- he excels at making his audiences deeply uncomfortable. While he constructs and subverts identity, presenting and manipulating images of sexuality, abuse, and self love, those of us watching are implicated in his physically raw, violent works. We can't look away, and naturally, we don't want to." - Claudia LaRocco, The New York Times
“With Ferver’s understated sureness of touch as director... the oscillation between insouciance and desolation makes the show.” - Appollinaire Scherr, The Financial Times
"The young performance artist's surname brings to mind a quality of his work. To that add outrageousness, surprising subtlety, and huge ambition in subject matter." - The New Yorker
"Although Ferver is rubbed with a patina that has one shuffling through references (from Jack Smith to John Kelly, Bette Davis to Bette Midler), he nonetheless occupies his current situation, even if he always simultaneously renders it productively shaky." - Johanna Burton, Artforum
“He writes and choreographs challenging, provocative dance theater that explores sexuality, identity, and, loosely stated, the horrible things people to do one another in the service of their own fragile egos.” - Kris Wilton, Modern Painters