Trisha Brown: Choreography as Visual Art

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Wesleyan University Press, Nov 1, 2016 - Performing Arts - 424 pages
Trisha Brown re-shaped the landscape of modern dance with her game-changing and boundary-defying choreography and visual art. Art historian Susan Rosenberg draws on Brown’s archives, as well as interviews with Brown and her colleagues, to track Brown’s deliberate evolutionary trajectory through the first half of her decades-long career. Brown has created over 100 dances, six operas, one ballet, and a significant body of graphic works. This book discusses the formation of Brown’s systemic artistic principles, and provides close readings of the works that Brown created for non-traditional and art world settings in relation to the first body of works she created for the proscenium stage. Highlighting the cognitive-kinesthetic complexity that defines the making, performing and watching of these dances, Rosenberg uncovers the importance of composer John Cage’s ideas and methods to understand Brown’s contributions. One of the most important and influential artists of our time, Brown was the first woman choreographer to receive the coveted MacArthur Foundation Fellowship “Genius Award.”
 

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Contents

Introduction Trisha Brown Back to the Future
1
1 Seeing the Score Trillium 1962
12
Homemade Motor Outside 1966
36
3 In a Crack between Dance and Art Equipment Dances 19681971
65
4 The Economy of Gesture The Accumulations 19711973
107
5 To Diagram to Dance Locus 1975
151
6 Anthologizing Process Line Up 1977
183
7 Subjectivity Desire and the Thinking Body Water Motor 1978
202
8 From the White Cube to the Black Box 19791981
229
9 The Name of the Game Set and Reset 1983 and Lateral Pass 1985
262
10 Abstraction and Theatricality Newark Niweweorce 1987
290
Epilogue Trisha Browns Archival Imagination
312
Notes
325
Index
385
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About the author (2016)

SUSAN ROSENBERG is consulting historical scholar at the Trisha Brown Dance Company. She directs the Master’s Program in museum administration at St. John’s University, New York, where she is also an associate professor of art history.

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