Bio

headshot of white woman against a white backdrop with chin length blonde hair, wearing a black shirt and smiling into the camera

Kathryn Nusa Logan is a collaborative interdisciplinary artist who utilizes experimental art practices to explore perspective, lineages, and imagined futures. Her work spans many genres, including video art, film, dance, dramaturgy, performance art, installation, songwriting, poetry, and sound design.

Logan’s screendance research is based in integrated dance-with-camera works that holistically consider the camera in the making process. Through this work she is interrogating the dominant gaze by engaging in new, somatic-based practices of looking and interacting with cameras.  In screendance works, Logan brings dance composition and improvisation into relationship with the camera, creating individualized camera behavior vocabularies for each work, acknowledging the camera as instrumental to the movement story. In her integrative processes of dance for the screen, the camera is a compositional tool through both filmic and choreographic elements, moving beyond the camera’s unique abilities to create a frame, or utilize depth of field, including a dance-informed sense of weight, time, and spatial relationship. The frame of the camera is not just another stage, but is a movement partner with an ability to address quality, texture, speed, and agility. As a video dramaturg, Logan works closely with directors and choreographers to utilize the camera in a way that best fits their work, interested in the camera as an innovative tool in art works, beyond traditional films or dance documentation.

Under the name of her solo songwriting  project, Lanusa, she has recorded three albums and performed across the U.S. Between 2008 and 2015, she organized and hosted dozens of songwriter’s nights in NYC, and self produced two national tours. Her 2015 album release show for Skeletons As Leavers sold out at Arlene’s Grocery (NYC). (Lanusa.bandcamp.com)

Ongoing collaboration with dance and video partner Katy Gilmore under the project name Logan Company, has produced dozens of short films, performances and video installations since 2010, including installations and screenings at Technicolor Postworks (NYC) and Anthology Film Archives (NYC). (Vimeo.com/Logancompany)

Logan is dedicated to the slow work of dismantling systems of oppression in the arts, which starts at the hyper-local level in her artwork and teaching, and through the collaboration of the DiGS Anti-Racist Working Group (ARWG) at The Ohio State University (u.osu.edu/arwg). As an organizing member of ARWG, she is contributing to curricular design around the development of an Anti-racism in the Performing Arts Certificate Program, which recently received two major grants from The Ohio State University for pilot implementation.

In relationship to her work with the ARWG, Logan is investigating how scholarship and practices in somatics, dance therapy, and trauma are being activated in dance education to address systemic oppression in the body inspired by the work of the Rooted communityDr. Amber McZealResmaa Menakem, and generative somatics. She is developing an ongoing practice and workshop series around these ideas as they distinctly relate to dance in higher education. 

Logan teaches ballet and contemporary dance technique (influenced by prolonged work with techniques including Cunningham, Limón,  Skinner Release, Susan Klein and Bartenieff Fundamentals), contemporary dance composition, improvisation, somatic practice, screendance, interdisciplinary composition, and yoga. She focuses her courses around equity,  importance of context, deep questioning, anatomical alignment, clarifying bodymapping, and personal investigation. 

She holds a BFA from the University of North Carolina School of the Arts (2008) and an MFA from The Ohio State University (2020).