Museum Exhibition Catalogues, Monographs, Artist's Projects, Curatorial Writings and Essays
"It is impossible to view today's contemporary dance, in all its glorious permutations, without seeing the wide-ranging influence of Trisha Brown's forty-five years of choreographic investigations. The questions that she and her like-minded colleagues in New York posed in the 1960s and 1970s and the solutions they devised revolutionized an art form. Their ideas continue to inject oxygen iunto the air of studios, performance spaces art center, college dance departments, theaters, festivals and opera houses worldwide." Philip Bither, excerpted from "From Falling and its Opposite, and All Things In-Between," published in So That The Audience Does Not Know Whether I Have Stopped Dancing.
Trisha Brown, the most widely acclaimed choreographer to emerge from the postmodern era, first came to public notice when she began showing her work with the Judson Dance Theater in the 1960s. Along with like-minded artists including Yvonne Rainer, Steve Paxton, and Simone Forte, she pushed the limits of what could be considered appropriate movement for choreography thereby changing modern dance forever. This “hot-bed of dance revolution,” was imbued with a maverick spirit and blessed with total disrespect for assumption, qualities that Ms. Brown still exhibits even as she brings her work to the great opera houses of the world today.
Published by Museu de Arte de São Paulo. Edited with text by André Mesquita. Text by Adriana Banana, David M. Sperling, Susan Rosenberg, Babette Mangolte, Yvonne Rainer, Trisha Brown.
A founding member of the legendary Judson Dance Theater, American choreographer and dancer Trisha Brown (1936-2017) helped build the tenets of postmodern dance and is now considered one of the most influential figures in American choreography. Trisha Brown: Choreographing Life presents a sizable archive of Brown’s career, with photographs, drawings and video stills that illustrate her lifelong contributions to the world of contemporary dance.
Brown established her own dance company in 1970 and continued to dance until 2008, during which time she created over 100 dances and six operas. One of her most famous pieces was the product of a creative partnership with artists Laurie Anderson and Robert Rauschenberg; after the 1983 premiere of Set and Reset at the Brooklyn Academy of Music’s Next Wave Festival, Brown was launched into international acclaim. Brown’s choreography demonstrates an unparalleled cognizance of space and visuality, as indicated by the artistic process apparent in the drawings and diagrams included in this publication. Her work conveys the extent to which movement is an artistic language reflective of the complex relationship between body and mind.
Published by Walker Art Center. Text by Peter Eleey, Philip Bither.
Best known for her innovative choreography, which revolutionized Modern dance, Trisha Brown has for many years made drawings and other works beyond the stage that integrate the performing and visual arts. Drawing has long featured prominently in her practice, shifting from a tool for schematic composition into a fully realized component of her broader investigation into the limits of her own body. Whether she is working within the frame of a sheet of paper, on the wall or on the stage, Brown delights in the play between structure and improvisation, between repetition and invention and between choice and chance. This volume, published to accompany an exhibition at the Walker Art Center, presents a broad survey of Brown's visual arts practice going back more than three decades. Featuring over 40 drawings, it includes essays by exhibition curator Peter Eleey and performing arts curator Philip Bither, as well as a specially-commissioned survey of Brown's drawing vocabulary contributed by the artist.
Trisha Brown: So That the Audience Does Not Know Whether I Have Stopped Dancing