|L-R: Kathleen Fisher, Kevin Kortan, and Diane Madden in Trisha Brown's "M.O." Music by Bach. Photo by Ming-Hsun Lee. Courtesy of Kevin Kortan.|
Trisha Brown began walking on walls with specially designed equipment
and dancing on New York City rooftops in the post-modern 1960s
and '70s. Her performances, with the improvisational collective the
Grand Union and in the iconic avant-garde venue Judson Church, helped to
redefine what dance could be: a pedestrian and task-oriented movement,
often based on a set of complicated instructions, often performed in
Just when the dance world thought it had her pegged
as an ascetic minimalist, Brown began making sensuous movements that
suggested the architecture of, say, a liquefied Weisman Museum: flowing
in eccentric and unpredictable ways while maintaining a clarity of
design that dazzled the mind and the eye.
She has continued to
evolve in the course of her long and distinguished career, working with
artists like Robert Rauschenberg and Laurie Anderson. Her rigorous
structuring of straightforward movement, her brainy wit, and her
experimental forays into everything -- including aerial work, opera, and
robotics -- have changed the landscape of contemporary dance.
The iconic artist has now retired, and her company is on its final tour
before disbanding. Co-presented by Northrop Dance and the Walker Art Center, where Brown began
an ongoing residential relationship in 1974, this
final retrospective includes celebrated works like "Set and Reset (1983)"
and "Astral Convertible (1989)."