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(2007)
Trisha Brown: Drawing on Land and Air, exhibition brochure (Tampa: Contemporary Art Museum
This exhibition included work by
(1983)
History of Experimental Music
Paula Caspão (2007)
Stroboscopic Stutter: on the not-yet-captured ontological condition of limit-attractionsTDR: The Drama Review, 51
Trisha Brown, Y. Rainer (1979)
A Conversation about "Glacial Decoy"October, 10
Rosalind Krauss (1977)
Notes on the Index: Seventies Art in AmericaOctober, 3
(1971)
Brown's first studio-determined choreography, which premiered the same year Buren wrote "The Function of the Studio
S. Rosenberg (2012)
Trisha Brown's Water MotorTDR/The Drama Review, 56
(2012)
For a more extensive treatment of Water Motor, see Susan Rosenberg
Bob Herschberg, Jaap Herik (1993)
The Village VoiceJ. Int. Comput. Games Assoc., 16
(1974)
Moving Structures: Effie Stephano Interviews Trisha Brown, Carol Goodden, Carmen Beuchat, and Sylvia Whitman
Whitney Museum Independent Study Program
E. Meltzer (2006)
The Dream of the Information WorldOxford Art Journal, 29
Jimmie Lunceford, S. Foster, E. Durham, Erno Rapée, Lew Pollack, Jack Palmer, Vincent Rose, B. Sylva, A. Jolson, T. Koehler, H. Arlen, Walter Donaldson, F. Rose, M. Parish, I. Mills, W. Hudson, Al Sherman, J. Meskill, A. Silver, Buddy Bernier, W. Hale, George Whitey, P. Rose, Harry Richman (1995)
For dancers only
J. Alten, P. Engstrom (1980)
The Minnesota Daily., 19
My Works for Magazine Pages: 'A History of Conceptual Art
S. Paxton (1972)
The Grand Union, 16
Accumulating Trisha Brown
Trisha Brown. Trillium. 1962. Photograph by Al Giese. Trisha Brown: Choreography as Visual Art* SUSAN ROSENBERG Four decades separate Trisha Brownâs reincarnation of her legendary work Man Walking Down the Side of a Building (1970) at New Yorkâs Whitney Museum of American Art in the fall of 2010 from its premiere in Manhattanâs SoHo district.1 Always refusingâuntil recentlyâthe countless invitations to reprise this well-known but almost-never-seen choreographic performance, Brown has met the curiosity of interviewers with a modest statement disavowing authorship: âI donât even know who that woman was, it has been such a long time.â2 A founding participant in Robert Dunnâs legendary dance-composition workshop (1961â 63) and pioneer ing member of Judson Dance Theater (1962â64), Trisha Brown has had a career that is unprecedented in its traversals of the fields of choreography, visual art, and opera. Given Brownâs repeated acts of artistic self-invention, she has had many reasons and occasions to problematize the relationship of her workâs present to its past, and when looking back, she has always demonstrated skepticism about the possibility of a workâs âauthenticâ revival.3 From her oeuvre of approximately one hundred choreographies, Brown has tended the legacy of Man Walking with particular care.
October – MIT Press
Published: May 1, 2012
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