Trisha Brown

"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.

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Trisha Brown: So That the Audience Does Not Know Whether I Have Stopped Dancing 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.
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WALKER ART CENTER
ISBN: 9780935640915
$29.95 | In stock

Trisha Brown

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. "Planes," 1968, reproduced from So That The Audience Does Not Know Whether I Have Stopped Dancing.

Trisha Brown: So That the Audience Does Not Know Whether I Have Stopped Dancing

Text by Peter Eleey, Philip Bither.
Published by Walker Art Center

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.