Sentences with phrase «with choreographic»

Their collaboration broke sharply with choreographic tradition in permitting the individual dancer any movement meaningful to him or her and relieving the performer of any obligation to tell a story, symbolize something, or find equivalents for the music.

Tony Orrico is a visual artist, performer, and choreographer whose work merges the act of drawing with choreographic gesture and bio-geometrics.

Woo, a master of poetical carnage, mixes kitsch, sadism, sentiment and comedy with choreographic precision.

Not exact matches

Aside from the choreographic challenges, Bandaloop is primarily concerned with technical and safety issues.

Director Celia Rowlson - Hall, no stranger to working with filmmakers Lena Dunham and Gasper Noe, will be a guest of MIFF with her debut feature Ma - a contemporary, choreographic road movie re-imagining the Virgin Mary's story.

Discuss with each group how the choreographic devices relates to the choreographic intent of the piece.

Compete with your friends in different modes to be the best dancer on stage, you play with simple directional and space bar keystrokes while enjoying marvelous dance steps and choreographic moves.

It begins with her early choreographic works and pioneering video performances, such as the Organic Honey series, and culminates with her most recent piece They Come to Us without a Word, which was presented in 2015 at the Pavilion of the United States for the 56th edition of the Venice Biennale, and will premiere in North America at DHC / ART.

Craycroft's residency also includes a series of public programs: a panel discussion exploring the legal and ethical implications of expanded definitions of personhood, a choreographic response by artist Will Rawls, and the premiere of Craycroft's film followed by a conversation with art historian Gloria Sutton.

This 456 - page volume, published in conjunction with the Walker Art Center and MCA Chicago's exhibition, reconsiders the choreographer and his collaborators as an extraordinarily generative interdisciplinary network that preceded and predicted dramatic shifts in performance, including the development of site - specific dance, the use of technology as a choreographic tool and the radical separation of sound and movement in dance.

Expect, too, a rolling live programme of «choreographic and discursive events», which recently kicked off with a day of interviews — as one might expect from the ever - inquisitive Obrist — and performances.

How Cunningham transformed postwar culture through collaboration Renowned as both choreographer and dancer, Merce Cunningham (1919 — 2009) also revolutionized dance through his partnerships with the many artists who created costumes, lighting, films and videos, and décor and sound for his choreographic works.

In Persona Non Granted, Rawls draws parallels between the laborious construction of stop - motion images and the choreographic work of animating bodies by juxtaposing video documentation of the filmmaking process with completed animation sequences of his choreography.

A room devoted to Rauschenberg's work in performance and his collaborations with the likes of Trisha Brown, Cunningham and Yvonne Rainer feels, by contrast, constrained and oddly austere, so that you have to struggle among the archive photographs and documents to properly compass the wit and invention of his choreographic excursions.

They are both invested in art's revolutionary possibilities for social change as evinced in Rainer's anti-war protest dances in the 1970s and the feminist dimensions of her radical choreographic style and films, as well as in Pendleton's Black Lives Matter flag for the Belgian Pavilion in the 2015 Venice Biennial and his latest series of paintings entitled Untitled (A Victim of American Democracy), which debuted this past summer as part of Edwards» Blackness in Abstraction exhibition at Pace Gallery and are now on display in Pendleton's first show with Galerie Eva Presenhuber, Zurich named Midnight in America.

Prior to the premiere, NYCB dancers perform excerpts from the work and Mr. Peck, Mr. Dessner, Mr. Dzama, and Mr. Baker discuss their creative process with moderator Ellen Sorrin, director of the George Balanchine Trust and managing director of the New York Choreographic Institute.

Dances and Films showcases the Getty's complete archive of Rainer's work — with journals, photographs, sketches, choreographic notation, films of performances, and a complete retrospective of her avant - garde films.

Elmgreen & Dragset consider an exhibition to be a work of art in itself, with all its narrative, choreographic and social possibilities and «Biography» will examine the very conditions of exhibiting.

With a focus on temporality and physicality, Hassabi's choreographic experience will direct and experiment with various ways in which the body engages with the established formal elements from the previous iterations: a black and white 16 mm film (shot by Robert), a collection of wooden planks, and a non-linear abstract text (written by RobeWith a focus on temporality and physicality, Hassabi's choreographic experience will direct and experiment with various ways in which the body engages with the established formal elements from the previous iterations: a black and white 16 mm film (shot by Robert), a collection of wooden planks, and a non-linear abstract text (written by Robewith various ways in which the body engages with the established formal elements from the previous iterations: a black and white 16 mm film (shot by Robert), a collection of wooden planks, and a non-linear abstract text (written by Robewith the established formal elements from the previous iterations: a black and white 16 mm film (shot by Robert), a collection of wooden planks, and a non-linear abstract text (written by Robert).

A conquistador moves through a choreographic sequence, dancing with a telescopic viewing device that helps to measure and understand the relationship of his body to the world.

Peake is a recipient of the Jerwood Choreographic research fund 2016 and the CASS Projects Residency 2017 in partnership with West Dean College.

Aligned with the culmination of a year long choreographic residency at Rebuild Foundation, award - winning performing artist Barak adé Soleil presents reRaceDis: a movement installation on Saturday, January 7th from 4:00 pm — 6 pm at Stony Island Arts Bank, within the currently exhibited installation of noted visual artist Glenn Ligon's A Small Band.

Dance at Socrates is their second year of choreographic residency and performance series presented in partnership with Socrates Sculpture Park.

She has danced professionally with Los Angeles Ballet, CA, and Angel Corella Ballet, Madrid, and attended artist residencies at Skowhegan School of Painting & Sculpture, Maine; Choreographic - Coding Labs, Digital Media Arts, UCLA; & the Fountainhead Studios, Miami, FL..

With the ground - breaking performance ensemble at its core, ongoing initiatives like the Summer Leadership Institute (SLI), BOLD (Builders, Organizers & Leaders through Dance) and the developing Choreographic Center, UBW continues to affect the overall ecology of the arts by promoting artistic legacies; projecting the voices of the under - heard and people of color; bringing attention to and addressing issues of equity in the dance field and throughout the United States; and by providing platforms and serving as a conduit for culturally and socially relevant experimental art makers.

Her solo work Horrible Mixtures (2014), made in collaboration with Andros Zins - Browne, is a choreographic seance departing from a sceptics interest in spirituality.

The eleven artists juxtapose divergent approaches in conversation with each other, reflecting on primal questions consuming artists over the millennia: Elliot Arkin's conceptual use of web - based commerce spins an absurdist view on the commodification of artists; Babette Bloch's stainless steel reassessments of nature and artistic precedent limn positives and negatives through light; Christopher Carroll Calkins's street photography captures moments of under - the - radar narratives; Valentina DuBasky's acrylic and marble dust works on paper and plaster are a contemporary comment on the prehistory of art; Gabriel Ferrer's performance - like in - the - moment sumi - ink drawings on handmade paper reflect on memory and personal narrative; Christopher Gallego's realist, pure light - filled oil painting elevates the ordinariness of an artist's space to visual poetry; Ana Golici, in pergamano and collage, takes inspiration from 17th Century female naturalist, entomologist and botanical illustrator Maria Sibylla Merian to explore questions of science, nature and objective truth; Emilie Lemakis's monumental amplification of an ancient Greek krater employs scale to upend perceptions for the viewer's reconsideration; Mark Mellon's bronzes address the oppositions of movement and stillness; the alchemy of Michael Townsend's uncontrolled poured acrylic paintings equate the properties of materials with the turbulence of the universe; Jessica Daryl Winer's engagement with luminous color and choreographic line reflects in visual resonance the sonic history of a musical instrument.

Stina Nyberg works with dances Nadja Hjorton, Sidney Leoni, Maryam Nikandish, Zoë Poluch and Rebecka Stillman to expose choreographic practices up close and offer an insight into the embodied critical knowledge, thinking and agency at the heart of contemporary dance production.

With her formal choreographic systems, which incorporate not only dance, but also textual, architectural, and visual elements, she creates her very own interpretation of the American dream of post-modern dance.

It begins with her early choreographic works and pioneering video performances, and culminates with her most recent piece «They Come to Us without a Word».

Burrows and Fargion will perform at Neighborhood House Theater on June 19, 20, 26, and 27, with a «Writing Dance» master class on June 20 and an artist talk on June 27, focused on their choreographic process.

Over the years she has developed a distinct choreographic practice involved with the relation of the body to the image, defined by sculptural physicality and extended duration.

Andrea Weber, formerly a dancer with the Merce Cunningham Dance Company from 2004 to 2011, introduces participants to Cunningham's techniques and chance procedures as choreographic tools.

Alex Baczynski - Jenkins (UK Associate) has an expanded choreographic practice with a queer politic.

Since then, he has collaborated with Lucky Plush Productions, Same Planet Performance Project, and Molly Shanahan / Mad Shak on performance and choreographic work; and has lectured and led workshops nationally and internationally.

Choreographers Lacina Coulibaly (Burkina Faso), Ousmane Wiles (Senegal) and Nora Chipaumire (Zimbabwe) were commissioned by Harlem Stage to develop new works or reimagine existing pieces from their choreographic canons; wrestling with questions that push the boundaries of what it means to be African in America now.

Like for Cunningham's dances, these sequences of existing choreographic excerpts are united with the music for the first time only during performance.

Renowned as both choreographer and dancer, Merce Cunningham (1919 — 2009) revolutionized dance through his partnerships with dozens of artists who created costumes, lighting, films, music, and décor for his choreographic works.

By reversing the order in which choreography is normally created, Already Unmade begins with finished, «choreographic objects» and subjects them to an ensuing process where they begin to unravel.

based upon her personal observations gleaned from a visit to petitioner's club, as well as her review of the dances depicted on the Nite Moves DVD entered into evidence at the administrative hearing and her interviews with certain of the club's dancers, the expert opined that «the presentations at Nite Moves are unequivocally live dramatic choreographic performances.»