Cover image for Trisha Brown--dance and art in dialogue, 1961-2001
Trisha Brown--dance and art in dialogue, 1961-2001
Aeschlimann, Roland, 1939-
Publication Information:
Andover, Mass. : Addison Gallery of American Art, Phillips Academy ; Cambridge, Mass : Distributed by MIT Press, [2002]

Physical Description:
339 pages : illustrations (some color) ; 28 cm
General Note:
Published in conjunction with an exhibition shown at the Addison Gallery of American Art and to be shown at four other locations. Exhibition began at Addison Gallery, September 27, 2002, and will end at the Henry Art Gallery, Seattle, Wash., July 18, 2004.
Added Corporate Author:
Format :


Call Number
Material Type
Home Location
Item Holds
GV1785.B76 T75 2002 Adult Non-Fiction Non-Fiction Area-Oversize

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In 1962, at the age of twenty-six, Trisha Brown became one of the original members of the experimental Judson Church Dance Theater in New York, and in 1970 she cofounded The Grand Union. The dancers of these radical groups, such as Yvonne Rainer and Steve Paxton, embraced improvisation and the use of everyday movements not usually associated with legitimate choreography. To bring her dance into the real world of objects and unpredictable events, Brown performed much of her early work outdoors. The book recalls the richness of those times, when poets, musicians, painters, and sculptors joined with dancers and choreographers in questioning the hierarchies and boundaries of their disciplines. By the late 1970s, Brown was looking for ways to expand and open up her dances. The desire to create large-scale, complex productions led her to incorporate stage design and music as simultaneous, independent elements in her work. Collaborating with such visual artists and musicians as Laurie Anderson, Robert Ashley, John Cage, Alvin Curran, Nancy Graves, Donald Judd, Fujiko Nakaya, Robert Rauschenberg, and, most recently, Terry Winters, she created visual and musical spectacles, or "movement-images." In this book, which accompanies a nationally touring exhibition co-organized by the Addison Gallery of American Art and the Frances Young Tang Teaching Museum at Skidmore College, historians, critics, choreographers, dancers, and visual artists explore the dialogue between dance and the visual arts in Brown's work. The contributors include Guillaume Bernardi, Trisha Brown, Simone Forti, Marianne Goldberg, Deborah Jowitt, Klaus Kertess, Laurence Louppe, Steve Paxton, Yvonne Rainer, Charles Stainback, Hendel Teicher, and Adam D. Weinberg.

Reviews 2

Library Journal Review

The companion to a touring exhibition organized by the Addison Gallery of American Art and the Frances Young Tang Teaching Museum at Skidmore College, this book collects essays by critics, choreographers, visual artists, and Brown herself, who examine the relationship between dance and the visual arts embodied in her work. The centerpiece is a collection of striking color and black-and-white photographs of dances, dancers, and related visual works of art. Brown first arrived on the performing arts scene in the 1960s as a postmodern dancer and choreographer and later branched out from the experimental Judson Dance Theater (of which she was a founding member) to start her own company, which today performs worldwide. Brown continues to challenge audiences with "movement-images" created in concert with a number of avant-garde artists such as Laurie Anderson and John Cage. In 1998, she ventured into new territory by producing her first opera, Monteverdi's Orfeo. A chronology of works, filmography, videography, and selected bibliography are appended, completing this solid and attractive tribute. A specialized work recommended for dance and performing arts collections.-Carolyn M. Mulac, Chicago P.L. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Choice Review

This is a magnificent book. The 1978 publication of Contemporary Dance, ed. by Anne Livet, set the standard for large-format, handsome books on modern dance--but that standard has now been exceeded by this sumptuous exhibition catalog. More than 200 pages of visual information, much of it in full-color, full-page spreads, provide a dynamic overview of Brown's prodigious choreographic work for the first four decades of her career. Excellent essays, several by Brown herself and others by early company members Steve Paxton and Yvonne Rainer and internationally acclaimed dance critic Deborah Jowitt, provide a diverse and incisive perspective on her work. Teicher (curator of the traveling exhibition) contributes a concise and informative biography and a particularly fine essay, "Bird/Woman/Flower/Daredevil: Tricia Brown," which gives a remarkably clear sense of the innovative and risk-taking character of Brown's choreography. The section "Profiles" provides additional perspective, including these thoughts of Merce Cunningham: "Tricia Brown's work has an air of immediacy about it to my eye.... There is a buoyancy about it that hurtles it along." Printed on fine heavy stock, the book is softbound, presented in a handsome protective embossed jacket, and is a phenomenal value at its unusually reasonable cost. ^BSumming Up: Essential. All collections supporting study of the performing arts. C. W. Sherman emerita, College of William and Mary