New York, NY-Dia Art Foundation is pleased to announce the second in a series of performances by Trisha Brown Dance Company (TBDC) at Dia:Beacon. Part of a year-long residency, these programs will present Trisha Brown’s groundbreaking choreography to the public, and highlight innovative work produced throughout her 40-year career. Performances will be accompanied by a presentation from TBDC’s archive, including a film by Brown, and an education program for college dance students. Performances will be held on Saturday, February 13 and Sunday, February 14, 2010, at 12pm and 2pm. A conversation between Trisha Brown, independent curator Klauss Kertess, and Dia director Philippe Vergne will take place on Saturday, February 13, 2010, at 3pm. Additional performances are planned on May 1, 2010.
In February, audiences will be invited to follow dancers through different galleries as they perform a selection of repertoire works that span Brown’s career. The program will commence with two “equipment pieces” that demonstrate her innovative use of props and harnesses to defy gravity: Floor of the Forest (1970) in which dancers will dress and undress their way through a twelve by fourteen foot pipe-frame structure threaded with clothes and installed adjacent to John Chamberlain’s sculptures; and Spiral (1974), in which multiple dancers, strapped in with ropes so their bodies are perpendicular to the floor, will circumvent columns in the museum’s lower level. Additionally the company will perform excerpts from Foray Forêt (1990) in the Donald Judd gallery, followed by You can see us (1995),a work first performed by Brown and Bill T. Jones, and subsequently Mikhail Baryshnikov in 1996. Brown collaborated with Robert Rauschenberg for the visual presentation of both Foray Forêt (1990) and You can see us (1995), the latter of which will be set in the gallery devoted to Imi Knoebel’s 24 Colors–for Blinky (1977). The program will conclude with Skymap (1969), a descriptive audio work written, read, and recorded by Trisha Brown. This audio piece will be presented in Drawing Series..., a special exhibition of work by Sol LeWitt.
TBDC’s Dia:Beacon residency provides an opportunity to consider the affinities and parallel interests between Brown’s choreography and artworks from the late 1960s to the present. It also continues Dia’s commitment to commissioning significant new performances and restaging seminal historic works for Dia:Beacon. Previous presentations include Merce Cunningham Dance Company Beacon Events from 2007 to 2009; Joan Jonas’s The Shape, the Scent, the Feel of Things (2005) in 2005 and 2006; and Robert Whitman’s Prune Flat (1965) and Light Touch (1976) in 2003.
On Saturday, February 13, 2010 at 3pm, Dia will present a conversation between Trisha Brown, independent curator Klaus Kertess, and Dia director Philippe Vergne.
Klaus Kertess co-founded and directed the Bykert Gallery in New York City from 1966 to 1975, and has curated numerous exhibitions including the 1995 Whitney Biennial. Among his many publications since 1975 are monographs on Peter Hujar, Brice Marden, and Joan Mitchell, and recent essays on John Chamberlain, Albert Oehlen, and Matthew Ritchie. In 2009, Kertess received the Lawrence A. Fleischman award for scholarly excellence in the field of American art history from the Smithsonian Archives for American Art. A selection of his writings will be published in fall 2010.
Throughout the month of February, an exhibition of ephemera from TBDC’s extensive archive including posters, invitations, performance programs, and photographs, will be on view in the Dia:Beacon bookshop. Additionally, Shot Backstage (1998) will be shown in the Dia:Beacon screening room. The film was shot by Brown from the wings of the Teatro Principal in Valencia, Spain, during a performance by the Company of For M.G.: The Movie (1991).
Dia and TBDC will present an education program for dance students at nearby colleges that will offer unique exposure to the Company and the museum. In advance of each performance weekend, students will be invited to attend TBDC rehearsals and tour the galleries with a Dia educator. Following these visits, a Company dancer and a Dia educator will return to each college for a workshop that introduces students to concepts and movements featured during the works they saw rehearsed.
DIA DANCE HISTORY
The Dia-TBDC collaboration reflects Dia’s longstanding support for innovative choreographers. From 1985 to 1996, Dia hosted a dance program in its former Soho building that focused on providing free and low-cost rehearsal and performance space for dance companies and individuals. The program included “The Salon Project,” an annual event at which twelve choreographers working in the building were selected to present their work publicly. Dia also commissioned performances at its former Chelsea building, including several projects with Yves Musard, one of which, La Promenade (1992), was performed within Dan Graham’s Rooftop Urban Park Project (1981–91). Additionally, the current residency reunites TBDC and Dia, which first supported Brown’s work in a performance she gave at the Public Theater in New York City in 1978.
Trisha Brown was born in Aberdeen, Washington. She studied dance at Mills College and the American Dance Festival at Connecticut College, and improvisation with Anna Halprin in Marin County, California. In 1961, at the urging of fellow choreographers, Simone Forti and Yvonne Rainer, she moved to New York to study composition with Robert Dunn who taught a class at Merce Cunningham’s studio based on John Cage’s theories of chance. The assignments in Dunn’s class eventually became programs that were presented at Judson Church in 1962, where Brown met and worked with choreographers including Steve Paxton, Deborah Hay, and Lucinda Childs.
In the late 1960s Brown created works which attempted to defy gravity by using equipment such as ropes and harnesses which allowed dancers to walk on walls and to experiment with the dynamics of stability. These “equipment pieces” comprised a distinct series, and established Brown’s working method of choreographing “cycles” of dances. In 1970 she founded the Trisha Brown Dance Company and accepted an invitation to join the experimental group Grand Union which included choreographers Barbara Dilley, Douglas Dunn, and David Gordon, as well as Rainer and Paxton. Throughout the 1970s Brown continued to develop and expand her choreography for alternative spaces and venues, and in 1979, she began to create works for the proscenium stage.
Throughout her 40-year career, Brown has regularly collaborated with visual artists including Walter De Maria, Nancy Graves, Donald Judd, Robert Rauschenberg, Robert Whitman, Terry Winters, and La Monte Young, as well as composers and musicians such as Laurie Anderson, Dave Douglas, and Peter Zummo. More recently, Brown has directed and choreographed several operas including Bizet’s Carmen, Monteverdi’s L’Orfeo, and Salvatore Sciarrino’s Luci mie traditrici and Da Gelo a Gelo, as well as the Schubert song cycle Winterreise.
Dia Art Foundation celebrates its seventh anniversary of Dia:Beacon, Riggio Galleries in 2010. Dia:Beacon presents Dia Art Foundation’s distinguished collection of art from the 1960s to the present, including Bernd and Hilla Becher, Joseph Beuys, Louise Bourgeois, John Chamberlain, Dan Flavin, Michael Heizer, Donald Judd, On Kawara, Imi Knoebel, Sol LeWitt, Agnes Martin, Bruce Nauman, Blinky Palermo, Gerhard Richter, Robert Ryman, Fred Sandback, Richard Serra, Robert Smithson, Andy Warhol, and Lawrence Weiner. .
Situated on the banks of the Hudson River in Beacon, New York, and easily accessible by train or car, the museum occupies a former Nabisco box-printing facility which was renovated by Dia with artist Robert Irwin and architect OpenOffice. Dia:Beacon’s expansive galleries comprise 240,000 square feet of exhibition space illuminated by natural light. The museum houses works by a focused group of some of the most significant artists of the last half century. The museum also presents temporary exhibitions, as well as diverse public programs designed to complement the collection and exhibitions.
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For additional information or materials contact:
Press Department, Dia Art Foundation, email@example.com or 212 293 5518