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 Mac Arthur Foundation Fellowship ‘Genius Award.’
Table of Content
Acknowledgments
Introduction: Trisha Brown, Back to the Future
Seeing the Score: Trillium (1962)
Memory and Archive: A string: Homemade, Motor, Outside (1966)
In a Crack between Dance and Art: ‘Equipment Dances’ (1968–1971)
The Economy of Gesture: The ‘Accumulations’ (1971–1973)
To Diagram, to Dance: Locus (1975)
Anthologizing Process in Line Up (1977)
Subjectivity, Desire, and the Thinking Body: Water Motor (1978)
From the White Cube to the Black Box (1979–1981)
The Name of the Game: Set and Reset (1983) and Lateral Pass (1985)
Abstraction and Theatricality in Newark (Niweweorce) (1987)
Epilogue: Trisha Brown’s Archival Imagination
Notes
Index
About the author
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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