Kristin Marting is the Founding Artistic Director of HERE (in co-leadership with Executive Director Kim Whitener) and a director of hybrid work based in NYC. At HERE, she cultivates artists and programs all events for two performance spaces for an annual audience of 30,000. Under her leadership, HERE has garnered 16 OBIE awards, 2 OBIE grants for artistic achievement, the 2015 Ellen Stewart Award from New York Innovative Theatre Awards, a 2006 Edwin Booth Award (“for Outstanding Contributions to NY Theatre”) from the CUNY Graduate Center, five Drama Desk nominations, two Berrilla Kerr Awards, four NY Innovative Theatre Awards, 1 Pulitzer Prize award and 2 nominations. She co-created and co-curates HARP, HERE’s Artist Residency Program. For 19 years, she curated The American Living Room, an annual summer festival featuring over 30 new works by emerging artists; and for 8 years, Queer@HERE, an annual festival of gay and lesbian work. She was recently named a nytheatre.com Person of the Decade for outstanding contribution, a Leader to Watch by Art Table and honored with a BAX10 Award for Arts Managers. Kristin is also co-Director of PROTOTYPE: opera theatre now, an annual festival of contemporary opera-theatre and music-theatre works, which she co-founded with Beth Morrison and Kim Whitener.
She has constructed 28 works for the stage (9 original hybrid works, 5 opera-theatre and music-theatre works, 9 adaptations of novels & short stories and 5 classic plays) and is currently developing Assembled Identity at HERE. Other recent projects include SILENT VOICES at BAM, IDIOT with Robert Lyons; Bombay Rickey, an opera cabaret on Yma Sumac in Prototype 2016; Trade Practices, an immersive theatrical experience where the audience determines the value of various different plays; Lush Valley, an immersive work on citizenship and civic responsibility, and James Scruggs' solo eight channel video work Disposable Men. She also directed Sounding and Dead Tech (collaborative works adapted from Ibsen), both of which received prestigious MAP Fund awards. Her work has been supported by the NEA, NYSCA, DCA, Axe-Houghton Foundation, Greenwall Foundation, Harkness Foundation for Dance, Jerome Foundation, and Peg Santvoord Foundation; reviews have appeared in all major New York media. Prior works have toured around the US. She has also collaborated on several large-scale political action art events, including The Line and currently serves as a Public member of Community Board #2.
She has taught directing and creative producing at Bard, Brown, NYU, Columbia, Harvard, New School and Williams College among others. She regularly serves on grant panels for NEA NYSCA, DCA and TCG, among others. Previously, Marting co-founded and served as co-artistic director of Tiny Mythic Theatre Company for nine years. She served as Robert Wilson’s assistant for HAMLETMACHINE and SALOME. She graduated from NYU with honors in 1988.
