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Trisha Brown: Choreography as Visual Art *

Trisha Brown: Choreography as Visual Art * Trisha Brown. Trillium. 1962. Photograph by Al Giese. Trisha Brown: Choreography as Visual Art* SUSAN ROSENBERG Four decades separate Trisha Brown’s reincarnation of her legendary work Man Walking Down the Side of a Building (1970) at New York’s Whitney Museum of American Art in the fall of 2010 from its premiere in Manhattan’s SoHo district.1 Always refusing—until recently—the 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: “I don’t even know who that woman was, it has been such a long time.”2 A founding participant in Robert Dunn’s legendary dance-composition workshop (1961– 63) and pioneer ing member of Judson Dance Theater (1962–64), Trisha Brown has had a career that is unprecedented in its traversals of the fields of choreography, visual art, and opera. Given Brown’s repeated acts of artistic self-invention, she has had many reasons and occasions to problematize the relationship of her work’s present to its past, and when looking back, she has always demonstrated skepticism about the possibility of a work’s “authentic” revival.3 From her oeuvre of approximately one hundred choreographies, Brown has tended the legacy of Man Walking with particular care. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png October MIT Press

Trisha Brown: Choreography as Visual Art *

October , Volume Spring 2012 (140) – May 1, 2012

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References (18)

Publisher
MIT Press
Copyright
© 2012 October Magazine, Ltd. and Massachusetts Institute of Technology
ISSN
0162-2870
eISSN
1536-013X
DOI
10.1162/OCTO_a_00087
Publisher site
See Article on Publisher Site

Abstract

Trisha Brown. Trillium. 1962. Photograph by Al Giese. Trisha Brown: Choreography as Visual Art* SUSAN ROSENBERG Four decades separate Trisha Brown’s reincarnation of her legendary work Man Walking Down the Side of a Building (1970) at New York’s Whitney Museum of American Art in the fall of 2010 from its premiere in Manhattan’s SoHo district.1 Always refusing—until recently—the 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: “I don’t even know who that woman was, it has been such a long time.”2 A founding participant in Robert Dunn’s legendary dance-composition workshop (1961– 63) and pioneer ing member of Judson Dance Theater (1962–64), Trisha Brown has had a career that is unprecedented in its traversals of the fields of choreography, visual art, and opera. Given Brown’s repeated acts of artistic self-invention, she has had many reasons and occasions to problematize the relationship of her work’s present to its past, and when looking back, she has always demonstrated skepticism about the possibility of a work’s “authentic” revival.3 From her oeuvre of approximately one hundred choreographies, Brown has tended the legacy of Man Walking with particular care.

Journal

OctoberMIT Press

Published: May 1, 2012

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