Clth, 9 x 12 in. / 348 pgs / 580 illustrations.
Pub Date 8/31/2011
Catalog: MID WINTER 2011 p. 77
ISBN 9781900828338 TRADE
List Price: $49.95 CDN $67.50
"I think Michael was always on a suicide mission, and always in a dark place somewhere inside, though he was always very joyous. In the early days I went out every night with Leigh Bowery and other friends of Michael's. We were a kind of gang; we had a wonderful time going to the newest, hippest clubs, but gradually I got busier and busier with my company and its responsibilities, and Michael's impulse to be taken away from the day and into the night became stronger. Living on opposite sides of the Atlantic, we wound up not seeing each other as regularly as we had in the early days.
Michael shifted the audience spectrum for dance, through rock music and his spirit of freedom, which included extremely flamboyant costumes that were openly gay—one good example was the pants that exposed the dancer's bottom to the audience. I think he gave the London audience an absolute sense of liberation by doing something unique to his generation, tied to the club movement of the time, with its expression of counter-culture fashion, music and ways of living. That spirit of freedom was probably the most important thing for the audience response to his work. He did an extraordinary thing for dance, which was to make it a popular art form for a huge range of people."
"Driven by his own extraordinary virtuosity and effortless technique, Michael is always searching to extend the language of ballet. There is still a restrained and elegant classicism in his vocabulary of tilts and distorts, taking the dancer dangerously off-balance, pushing the lines further and at more aggressive angles. There is still a formality in the structures but, like a young Picasso steeped in the classical tradition, Michael can stray further and further away from the core language while the reference points remain visible. I still believe he is the only choreographer who has proved the capacity of ballet to be a modern art form."
–JANE QUINN, manager of Michael Clark & Company between 1984 and 1989
| || |
Published by Violette Editions
Edited by Suzanne Cotter, Robert Violette. Text by Michael Bracewell, Suzanne Cotter, Stephanie Jordan. Interviews with Charles Atlas, Michael Clark, Kate Coyne, Sophie Fiennes, Richard Glasstone, Matthew Hawkins, Melissa Hetherington, Sarah Lucas, Judith Mackrell, Steven Scott, Susan Stenger, Stevie Stewart, Ellen van Schuylenburch, Cerith Wyn Evans, et al.
Notorious for his continually subversive takes on classical dance, Michael Clark is without doubt one of the most important dancers and choreographers of our time. He has created some of contemporary dance's finest productions, often using leftfield rock music (most famously in his fantastic collaboration with The Fall, I Am Curious, Orange). Situated at the heart of the British postpunk art scene, Clark is much admired for his judicious choice of collaborators, such as designers Bodymap, artists Cerith Wyn Evans, Leigh Bowery, Charles Atlas, Peter Doig and Sarah Lucas, film director Peter Greenaway (Clark played Caliban in Prospero's Books) and bands The Fall, Laibach and Wire. This monograph, the first on this major artist, celebrates the whole of Michael Clark's career to date, from the late 70s to the present. Rich in visual and archival material, it contains new essays on Clark's work, photography by Hugo Glendinning, Richard Haughton, Nick Knight, David LaChapelle, Chris Nash and others, plus interviews with many of Clark's collaborators from the worlds of dance, art, fashion and music. Limited edition photographs are available from the publisher.
Michael Clark set up his own dance company in 1984, at the age of 22. He immediately won the admiration of Rudolf Nureyev, who commissioned ballets from Clark for the repertoire at the Paris Opera. Clark has also been the subject of numerous films and documentaries, including the fictional biography Hail the New Puritan by Charles Atlas and The Late Michael Clark, directed by Sophie Fiennes.
PRAISE AND REVIEWS
His pieces have engaged with, and reflected on (usually with the same mordant wit), the themes and preoccupations of the 'Sensation' generation of British artists, who were contemporaneous with Clark; the wonder of his work is the way it utilizes the formalist traditions of dance, while always seeking out visual, cultural, and aural reference points entirely alien to the discipline-including fashion.
UPS GROUND IN THE CONTINENTAL U.S.
FOR CONSUMER ONLINE ORDERS
OF RELATED INTEREST
USD $45.00 | CAN $60
Pub Date: 6/30/2012
Out of stock indefinitely | Not available
FROM THE BOOK"Avant-garde is the term that comes to mind when describing choreographer Michael Clark. An extraordinary talent and cultural icon, his performances have provoked euphoria, outrage and obsessive fascination. In the 1980s, he affected something of a seismic shift in the culturally elite world of classical ballet in which he trained, transposing onto it the underground culture of music and fashion that has come to define the period. Visually sumptuous, the sets, the costume designs and company of collaborative creators brought together by Clark tested, if not exploded, the limits of ballet's canon in a high-volume, ecstatic flow of energy." -Suzanne Cotter, excerpted from the Introduction to Michael Clark.