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    Archived pages: 170 . Archive date: 2013-09.

  • Title: Baryshnikov Arts Center · Homepage
    Descriptive info: .. Baryshnikov Arts Center.. About.. About BAC.. Mikhail Baryshnikov.. Staff / Boards.. Spaces.. News.. BAC Stories.. Partners.. Performances.. Upcoming Performances.. Past Performances.. Residencies.. BAC Residencies.. Upcoming Residencies.. Past Residencies.. Projects.. Current Projects.. Past Projects.. Support.. Support BAC.. BAC Donors.. Rent.. Visit.. Search.. Join Our Mailing  ...   (2013).. Dec 11 - 15 I Click for details.. Learn more about ways to support BAC.. Learn more about BAC rentals.. 450 West 37th Street.. Suite 501.. New York, NY 10018.. General: 646 731 3200.. Rentals: 646 731 3225.. Contact Us.. ©2012 BAC.. All Rights Reserved..

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  • Title: Baryshnikov Arts Center · About BAC
    Descriptive info: Adamantine.. , BAC Presents Spring 2011 " title="#85"/>.. Susan Marshall & Company's.. , BAC Presents Spring 2011.. Raewynn Hill, Fall 2010 Dance Resident Artist.. BAC is the realization of a long-held vision by artistic director.. Mikhail Baryshnikov.. , who sought to build an arts center in New York City that would serve as a gathering place for artists from all disciplines.. BAC s opening in 2005 heralded the launch of this mission, establishing a thriving creative space for artists from around the world.. Located in the Hudson Yards neighborhood of Manhattan, BAC comprises a total of 20,000 square feet, including the 238-seat Jerome Robbins Theater, which opened in 2010; the Howard Gilman Performance Space, a black box performance space seating 136 people; four column-free studios; and office space.. BAC serves approximately 500 artists and more than 22,000 audience members annually through presentations and artist residencies.. BAC Presents.. BAC Presents  ...   the arts by presenting contemporary work at affordable ticket prices.. BAC Artist Residency Program.. Supporting artists is central to BAC s mission.. BAC hosts up to 30 residencies a year, providing dance, theater, music, and multimedia artists with the space and resources to research and develop new projects and collaborations.. Artists are free to explore their creative endeavors, with BAC staff available to provide administrative and technical support.. Resident Artists.. BAC Rentals.. Through its rental program, BAC serves as an important resource for the artistic community by helping to meet the need for affordable rehearsal space in New York City.. BAC offers subsidized rehearsal rentals to nonprofit dance companies starting at $10 per hour, made possible by grants from the New York State Council on the Arts and The Andrew W.. Mellon Foundation.. BAC also provides reduced rate rentals to nonprofit dance, music, theater, and multimedia artists and companies..

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  • Title: Baryshnikov Arts Center · Mikhail Baryshnikov
    Descriptive info: Claire Westby in.. she dreams in code.. by Liz Gerring, photo by Mikhail Baryshnikov.. Baryshnikov Arts Center Artistic Director.. Mikhail Baryshnikov, a native of Riga, Latvia, was born in 1948 and began studying ballet at the age of nine.. As a teenager, he entered the Vaganova Academy in Leningrad, graduating from student to principal dancer of the Kirov Ballet in 1969.. In 1974, he left the Soviet Union to dance with major ballet companies around the world including the New York City Ballet where he worked with George Balanchine and Jerome Robbins.. In 1980 he began a 10-year tenure as Artistic Director of American Ballet Theatre, nurturing a new generation of dancers and  ...   of art, and, indeed, it expanded the repertoire and visibility of American modern dance.. In 2005, he opened the Baryshnikov Arts Center (BAC), a creative home for local and international artists to develop and present work.. Since its founding, the Center has hosted numerous artists and productions from the United States and abroad.. Among Mr.. Baryshnikov s many awards are the Kennedy Center Honors, the National Medal of Honor, the Commonwealth Award, the Chubb Fellowship, the Jerome Robbins Award, the NYC Dance Alliance Foundation s Ambassador for the Arts Award, and the 2012 Vilcek Award.. In 2010 he was given the rank of Officer of the French Legion of Honor.. Photo by Peter Hurley..

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  • Title: Baryshnikov Arts Center · Staff and Board
    Descriptive info: On The Beach.. , BAC Presents Spring 2012.. Staff.. Artistic Director.. Georgiana Pickett.. Executive Director.. gpickett@bacnyc.. org.. Steven Battaglia.. Operations Manager.. sbattaglia@bacnyc.. Kristen Miles.. Director of Marketing + Communications.. kmiles@bacnyc.. Diana Scarpa.. Assistant Technical Director.. dscarpa@bacnyc.. Patrice Christu.. Operations Associate.. pchristu@bacnyc.. Kirsten Munro.. Director of Development.. kmunro@bacnyc.. Vernon Scott.. Special Events Manager +.. Executive Assistant to the Artistic Director.. vscott@bacnyc.. Katie Gorum.. Technical Director.. kgorum@bacnyc.. Pedja Muzijevic.. Artistic Administrator.. pmuzijevic@bacnyc.. Eleanor Wallace.. Program Manager.. ewallace@bacnyc.. Layton Hower.. Director of Finance +  ...   Diana DiMenna.. James H.. Duffy.. Sandra Foschi.. Slavka Glaser.. Roger Hooker.. R.. Jarrett Lilien.. Aidan Mooney.. Steven Pesner.. Suzanne Weil.. Advisory Committee.. Donald M.. Kendall.. Mike Medavoy.. Natalie Moody.. Neil L.. Rudenstine.. Artistic Panel.. Pedro Almodóvar.. Trisha Brown.. Milos Forman.. William Forsythe.. Ariel Goldenberg.. Robert Israel.. Gidon Kremer.. Jessica Lange.. Annie Leibovitz.. Santo Loquasto.. Mark Morris.. David Salle.. Peter Sellars.. Sam Shepard.. Yuri Temirkanov.. Michael Tilson Thomas.. Jennifer Tipton.. Pictured: "Metro Repitition" by Jonah Bokaer and Davide Balliano, photo by Julieta Cervantes..

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  • Title: Baryshnikov Arts Center · Spaces
    Descriptive info: Jerome Robbins Theater.. Howard Gilman Performance Space.. Studio 4A.. Studio 4B.. Studio 6A.. Studio 6B / Sterner Studio.. In February 2010, after a year of redesign and renovation, BAC opened the Jerome Robbins Theater, a fixed seating venue with a flat floor stage, a 187-seat orchestra, and a 51-seat balcony.. The Wooster Group became BAC s resident theater company, inaugurating the stage with a remounting of their seminal work from 1983,.. North Atlantic.. , in March and April 2010.. The addition of the theater expanded programming, introducing new opportunities for artists to perform larger works of dance, music, theater, and multimedia at the Center, and tripling BAC s audience.. The Jerome Robbins Theater is named in recognition of Mikhail Baryshnikov s lasting friendship and collaboration with Jerome Robbins.. Lead support for the theater acquisition and renovation was provided by The Jerome Robbins Foundation.. More Info.. The Howard Gilman Performance Space, with a flat floor stage and optional raked risers  ...   a salon setting.. This flexible black box venue has accommodated performances with traditional audience seating as well as installations, visual art exhibits, film shoots, fashion shows, cocktail receptions, and seated dinners.. The Howard Gilman Performance Space is named in honor of Howard Gilman, a philanthropist and long-time friend and supporter of Mikhail Baryshnikov.. The Howard Gilman Performance Space was dedicated in November 2006.. Lead support for the theater was provided by The Howard Gilman Foundation.. Studios.. BAC studios range in size from 850 square feet to 3,096 square feet and are completely column-free, with sprung wood floors and ceilings ranging in height from 18 to 20 feet.. Large windows provide expansive southern and western views of Manhattan and the Hudson River.. The studios are home to BAC s resident artists throughout the year, and are also available for rent.. Studio 6B / Sterner Studio is named for Christina Sterner, Managing Director Emeritus of BAC and White Oak Dance Project..

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  • Title: Baryshnikov Arts Center · News
    Descriptive info: Year.. View All.. 2012.. 2013.. "Rose Herrera Dance Theatre-Impressions".. The Dance Enthusiast.. April 22, 2013.. Read.. View Performance Page.. "Life Eats On".. Arts Journal.. "Rosie Herrera in conversation with Celeste Fraser Delgado".. Movement Research.. April 17, 2013.. "A Captive of Human Nature".. The New York Times.. April 4, 2013.. "She Plays a Chimp Who’s Playing a Man".. March 28, 2013.. "You Don’t Dance  ...   Arts Center, New York".. Financial Times.. March 18, 2013.. "Rashaun Mitchell with Nancy Dalva".. The Brooklyn Rail.. March 14, 2013.. "Talking to Rashaun Mitchell About "Interface" at Baryshnikov Arts Center".. Culturebot.. "Rashaun Mitchell in conversation with Ryan McNamara".. March 13, 2013.. "Family Happiness".. Time Out New York.. January 22, 2013.. "When a Lust for Life Is Consummated".. January 21, 2013.. 1.. 2.. 3.. Next..

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  • Title: Baryshnikov Arts Center · BAC Stories
    Descriptive info: Discipline.. View all.. Dance.. Artist.. A-H.. Faye Driscoll.. Octavio Campos.. I-Q.. Sam Kim.. Rashaun Mitchell.. R-Z.. Sally Silvers.. Rachel Tess.. BAC Stories provide a "behind-the-scenes" view of the work being developed in our studios by BAC resident artists.. BAC Story by Lydia Bell.. July 1, 2013.. If you went into Baryshnikov Arts Center s Studio 6A today, you would find a small house.. Upon further inspection, you might think of it more as a variation on a house.. It has four walls, yes.. It offers sanctuary, intimacy, and an ordering of space.. But its primary purpose is as a container for dance.. Rachel Tess is the artist behind the container she is a choreographer who splits her time between Portland, Oregon and Stockholm, Sweden, and a dancer trained in ballet who has worked with major ballet companies and contemporary European choreographers.. She started to work site-specifically in Portland starting in 2007, making and producing works in large forgotten urban spaces under the auspices of Rumpus Room Dance.. The experience of working in warehouses and other large-scale environments, she told me when I visited her at BAC recently, drove her to crave intimacy in the performance environment.. How does the audience read architecture and texture? How does the audience experience the vibrations of the dancing body? These are the questions driving Tess newest project.. Souvenir.. , what I m calling a container for dance, is designed for mobility, Tess wrote to me recently.. It s also modular, so that the pieces of the structure can be reconfigured in a multitude of ways.. It was constructed in Sweden, with the help of a two carpenter uncles and Swedish/Chilean designer Gian Monti, and then shipped to New York for Tess month-long residency.. It took almost three days to erect in the BAC studio, during which time Tess taught the dancers she is working with Anna Pehrsson and Luis Rodriguez how to put it together.. The intimacy between Tess, the dancers, and the structure is palpable.. The walls of the structure Tess lovingly refers to as skin.. The frame of the house contains cubbies for sitting in and a ledge for perching on.. Eventually each cubby will have hooks, for audiences to arrange their belongings on, and a survival kit, of some kind, perhaps a blanket, Tess told me.. In a recent run-through, several test audience members were encouraged to walk around the structure and then choose a cubby to inhabit.. In my walk around the structure I felt my gaze drawn in many different directions to the skyline, the buildings outside, to the studio door.. Once inside, my gaze became more focused.. I no longer had a sense of the space as portable.. Instead, the hard edges and clean lines of the structure seemed permanent, as if they had always been there, and watching the dancers negotiate the harshness of raw wood was both stimulating and strangely exhausting.. Toward the end of the run through, both dancers left the structure, running their hands along the outside walls and emitting a low, meditative hum.. The container seemed to vibrate with possibility and I found myself imagining it in a grassy meadow, as a respite from the sun, perhaps after a long hike.. What are the ideal conditions for dance?.. forces us to confront this question and offers a space in which to imagine the possibilities.. Visit Rachel s Residency Page.. Lydia Bell is a dance researcher, curator and administrator based in New York City.. She is Development and Curatorial Associate at Danspace Project, where she serves as Managing Editor of the PLATFORM catalogue series.. Lydia has contributed to publications such as.. Judson Now.. (Danspace Project, 2012),.. Museum and Curatorial Studies Review.. (University of California, Santa Cruz), and.. Movement Research Performance Journal.. Lydia is a graduate of Wesleyan University and the Institute for Curatorial Practice in Performance (ICPP).. Read More.. Show Less.. BAC Story by Jaamil Olawale Kosoko.. May 22, 2013.. Confronting the Cult of the Engendered Body.. The EXPERIENCES I accept now must question my own presumptions and help me rethink people s assumptions.. - Octavio Campos.. Having worked in various creative and educational arenas with a career spanning over 30 years, Octavio Antonio Campos is a matured, fearless artist.. For his three-week residency at Baryshnikov Arts Center, the Cuban-American, Miami based performer has found himself in a place of self-reflection.. Continuously motivated by an overarching need to question and reexamine the fabric of the current socio-political climate, Campos, now in his 45th year, has started a process of reaching back into his past to reveal, perhaps, a new artistic truth about his present relationship to live performance.. Born to refugees of the Cuban Revolution, his parents were imprisoned for not falling into accordance to Fidel Castro s leadership.. Upon release, they fled to Miami, FL in the early 1960 s.. In his newest creative venture entitled.. Triple Quince.. , Campos is bravely opening his memory bank to this experience among many others.. But memory is only one of the building blocks Campos is using to create this new work.. Another concept that he admits has consumed him for the past few years is the idea of hatred, which was also a theme in his 2009 work.. 1000 Homosexuals.. -- a play written by Michael Yawney.. About his new work, Campos says:.. "I m always trying to transform [hate].. Look at it from another angle.. Using the energy that hatred evokes, I m attempting to defuse it, and use it to.. power New York City someday, because there s a lot of energy being expelled towards the other, all the time.. I ve been fascinated by the energy that s behind it.. I think it s interesting to use this as a springboard to create the new work.. ".. Age 15, Campos remembers, was a turbulent year.. In Latin culture, when an adolescent turns 15, it represents a rite of passage, and while girls are thrown an extravagant party or Quinceanera, boys are thrown into a motel with a prostitute twice their age.. For the teenage Campos, who had already self-identified as gay, this was quite a traumatizing experience.. Structured as three distinct chapters (each marked by a 15 years division), the new episodic performance will recount Campos s early memories as a teen as well as his artistic occurrences at age 30 when he found himself performing tanz theatre in Berlin.. He recalls the glory of the 90 s after physically helping to destroy the Wall in 1989.. He remembers the freedom of extacy, falling in love with Pina Bausch, love parades, and wild German performance art escapades.. Now, after having lived such a fulfilled life, he s asking himself "Who am I now?" Today, Campos enjoys the simple pleasures of kayaking, swimming, and sunbathing.. Apart from his international commissions and residencies, he currently resources his work and maintains creative stability as an Artist-in-Residence at Miami Theater Center where he works as a choreographer, producer, and educator.. He receives a full-time salary, benefits, and artistic support for his own creative musings.. The position also allows him the freedom to travel and work remotely via satellite.. Proclaiming himself a buffon trapped in a dance-theater bodysuit; a political, gender torchbearer overtly confronting gay issues, Campos s work addresses the current cultural moment with a performance art aesthetic and infectious comedic sensibility -- the result of years of German training in deep conversation with the complexities of his Cuban roots.. Campos doesn t aim to follow known methods of creation, so much as to subvert them and, in the process, share with his viewer what he values most about being a creator of live performance.. Whether performing a duet with a demolition truck (as seen in his 2006 work.. Developmentus Interruptus.. ) or describing the 50th anniversary of the U.. S.. invasion of Cuba s Bay of Pigs (as in 2011 s.. The Pig Show.. ), Octavio Campos wants to give us very specific ideas to ponder while watching him.. He provides an experience that not only demystifies his own personal questions and creative obsessions, but also reveals an emotional truth inside his audience as well.. Visit Octavio s Residency Page.. Jaamil Olawale Kosoko is a producer, curator, poet, choreographer, and performance artist.. He is a 2012 Live Arts Brewery Fellow as a part of the Philadelphia Live Arts Festival, a 2011 Fellow as a part of the DeVos Institute of Art Management at the John F.. Kennedy Center for the Performing Arts, and an inaugural graduate member of the Institute for Curatorial Practice in Performance (ICPP) at Wesleyan University.. With his creative partner Kate Watson-Wallace, he co-directs.. anonymous bodies || art collective.. , a visual performance company that presents work nationally specializing in site base performance and community building art practices.. BAC Story by Brian McCormick.. March 29, 2013.. The dances that Sam Kim makes aren t pretty, and if you ask her, she ll tell you, I don t make stories.. The works are non-linear, with no-set sequence, meant to evoke the state of dreaming.. The movement is raw at times the dance of zombies but her choreography and subversion of technique places her performers into strange but familiar worlds.. We recognize our own otherness in her dances; they scratch at surfaces.. Material she developed during her residency at BAC was shown at the end of March.. A trio for three women with the working title "Sister to a Fiend, this piece is overtly ritualistic.. Two matching cups are repeatedly held aloft as if in offering, or a means of channeling, and they are also hurled to the ground, as if in anger or pain.. Spiritual symbolism abounds, but the body is central to the proceeding.. There is molestation.. Energetic transfer.. And what Kim  ...   a titillating show of leg like they were old school chorines trying to impress a director.. The dancers suggestively pulled at their sweatpants and Spandex, but the result was more aggressive than Silvers wanted.. She directed them to soften everything.. Less movement and more intent, she suggested.. You kind of have to believe in it, she said.. There s a sense that this is how Silvers works the intellectual framework of the dance is pulled from wildly divergent sources and fastened together gestalt-like in her head.. The piece is then built in rehearsal as the dancers experiment and layer movement onto that framework.. Silvers appears fearless when it comes to marrying disparate ideas, and the dancers follow her lead with the willingness of converts.. During her residency Silvers pushed this approach even further.. is a multi-layered mash-up with choreographed movement for six dancers (the five listed above plus Jeremy Pheiffer), structured improvisation for three more performers (Carolyn Hall, Jonathan Kinzel, and Edisa Weeks), semi-improvised duets for Silvers and Rebekah Windmiller, and monologues and movement solos for actor David Greenspan.. Michael Schumacher composed and performed the music with original text and sound design by Bruce Andrews.. I think the scale of this piece was made more possible by the BAC residency for sure, says Silvers.. I was able to think bigger.. In performance at Roulette, Silvers reversed the usual seating arrangement so that the audience, elevated on the stage, looked down at the dancers, and up to the balcony area where Hall, Kinzel, and Weeks periodically slunk through the seats in a sort of mating ritual.. The effect was intriguing, but the space between floor and balcony made it hard to absorb everything all at once.. And Silvers choreography is compelling enough that it was easy to lose track of the improvised bits even when they happened down at dance floor level.. In our interview before the premier she spoke of the challenges of overlapping choreography with improvisation.. Improvisation you really have to dive in and get involved with what you re doing, she said.. It s hard to coordinate because [the improvisers] can t be there as much as they would normally need in order to get something actually worked They ve got to be aware that that s their time and that they have to be off the stage or they re going to get run over by the next section.. In an email after the opening she said that if she presents.. elsewhere she ll intertwine the two elements even more.. Silvers has an internal presence, call it confident calmness, that somehow makes the simple act of standing and tilting her head a potent comment on life s absurdities.. When asked about the dance s title, she said, My dance is not about Bonobos, it s more about the spirit of the Bonobo.. just sounded to me like a title that meant something hopefully exciting was going to happen.. And her response when asked what Sondheim might say if he saw.. ?.. I would be very curious what he had to say about what he saw, she says with a slight smile.. I don t know that he would see any relationship.. Visit Sally s Residency Page.. Aug 26, 2012.. Rashaun Mitchell, an eight-year veteran of the Merce Cunningham Dance Company, isn t afraid of getting lost.. Literally.. To prepare for his BAC residency, he and a few other dancers set out into the woods of southeastern Connecticut for a hike into unfamiliar territory.. Without speaking, one dancer was expected to lead until another felt compelled to take their place.. It wasn t pretty.. They were quickly lost, and when they finally made it back to the studio, everyone was intensely emotional.. Mitchell recalls it as being, really weird, but he knew he d hit choreographic pay dirt.. He set up a camera and told his dancers, OK, let s dance let s see what comes out of our bodies.. Those filmed improvisations became the core material for.. Interface.. , an exploration of visceral and emotional reactions that Mitchell expects to be more of a multi-media piece than a dance.. It s fair to say that this comfort with creative meandering is unusual for a seasoned Cunningham dancer.. Although Cunningham often relied on chance operations for how a dance would look in performance (meaning the movement, sound and visuals are independent of one another and order is determined by a roll of the dice), the actual steps, and how they should be executed, were, as in classical ballet, imposed on the dancers by the choreographer.. So Mitchell s willingness to let his dancers movements dictate the look and feel of a new work is a certain kind of daring.. I really like to work with people who have minds of their own, he says.. Mitchell encourages feedback from his dancers while sifting through their improvised movement, discovering the emotional intent behind it, then trying to separate one from the other and recombine them in novel ways something he describes as a layering process.. In.. , Mitchell plans to add even more layers including an original electronic score by Thomas Arsenault and design elements by artists Nicholas O Brien and Fraser Taylor.. Factor in the expertise of the dancers working with Mitchell during his time at BAC (Cori Kresge, Melissa Toogood and Silas Riener) and you have a passel of talent converging on virgin territory.. As if that isn t intrepid enough, Mitchell and Riener will be co-creating an improvisational duet to be performed at Anatoly Bekkerman s ABA Gallery as part of BAC s fall gala evening.. The challenges for such an event are many and Mitchell admits that it s scary.. Although he s used to performing in unorthodox spaces from his years with the Cunningham company, Mitchell says a gala event is a little different.. It s always sort of strange to figure out where people are going to be and whether we re going to interrupt the socializing.. Dangerous? Perhaps.. Frightening? Yes, but most creative efforts are.. Mitchell, however, appears to be willing to pull his collaborators close and step carefully, and bravely, into the unknown.. Visit Rashaun s Residency Page.. May 2, 2012.. Faye Driscoll is drenched in sweat, smeared with yellow, blue and orange paint, and riding atop collaborator Jesse Zaritt s shoulders like a Valkyrie charging up out of a dress up box.. She stares out and upwards as a synthesized beat thunders through the studio.. Zaritt thrusts a wig, a cap and a hunk of velveteen up into her hands.. She flings the fabric over her chest like a cloak and plunks the wig on her head.. They are tossed for fur collar, bra and a snarl of netting.. Next are sunglasses, red feathers and Mardi Gras beads.. Driscoll s gaze is intense, uncompromising her expression a twist of smile and snarl.. The music fades, Zaritt backs away and she stands alone, breathing hard and twitching with kinetic energy.. These are the final moments of Driscoll s two-week residency at BAC where she s pulled together her messy, funny, exhilarating and mystifying new work,.. You re Me.. It s the culmination of a year and a half of intermittent writing, solo improvisation and collaborative work with Zaritt as an exploration of the tumult between defining oneself as an individual and surrendering oneself to another in a relationship.. If that sounds like grant-speak, a look around studio 4B will dispel any fears of post-modern tedium.. The floor is strewn with orange peel, talcum powder, paint cans, cardboard, netting, yarn, fabric, fruit, fake jewels and piles of clothing.. The cleaning guy was really nice about it, says Driscoll with a disarming smile.. After its premier at The Kitchen in April, Brian Seibert of the.. described.. as a work in which craft blooms into artistry.. Driscoll has worked at BAC before; first as assistant to Resident Artist David Neumann in 2008, then as chief collaborator with director Young Jean Lee during Lee s 2011 residency for.. Untitled Feminist Show.. , but never before on her own material.. She was invited to BAC after her 2010 showing of there s so much mad in me at DTW.. The 38-year-old, critically acclaimed choreographer describes the offer as a privilege and a chance to work without distractions.. I was grateful I could just be wrapped up in creativity, she says, adding that it s easy to forget how much energy goes into the logistics of trying to make new work in New York City.. These little things pluck away at you when you re in the midst of trying to dream, she says.. And dream she does.. Driscoll s work is often described as raw and unfiltered; indelicate moves tinged with the abandon of children run amok in the playroom.. You re Me,.. she and Zaritt pull and paw at one another, stuff oranges and spray cans into their pants, crawl, moan and, startlingly, arrange themselves into Isadora-like tableaux with all the balance and restraint of a classical frieze.. It s a seductive juxtaposition - a fleshy ride into the dark (and sometimes funny) depths of the subconscious.. UCLA dance professor Victoria Marks calls Driscoll a post-millennium, postmodern wild woman and Lee has aptly dubbed her the choreographer of the id.. But Driscoll saves the extremes for her work.. In person she is approachable, articulate and genuine.. She describes the sense of being cared for at BAC as validation that what she s doing is worthwhile.. It s pretty simple stuff - a good floor, nice light, helpful staff and very few parameters, but it s huge for a creative artist.. It facilitates better art, says Driscoll.. Visit Faye s Residency Page.. Rachel Tess by Michael Mazzola..

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  • Title: Baryshnikov Arts Center · Partners
    Descriptive info: Naked.. , BAC Presents Spring 2011, co-presented with Asia Society and Danspace Project" title="#14"/>.. Corridor.. , BAC Presents Fall 2009, co-presented with Dance Theater Workshop" title="#315"/>.. Fragments.. , BAC Presents Fall 2011, co-presented with Theatre for a New Audience" title="#316"/>.. Eiko & Koma's.. , BAC Presents Spring 2011, co-presented with Asia Society and Danspace Project.. Lucy Guerin's.. , BAC Presents Fall 2009, co-presented with Dance  ...   Presents Fall 2011, co-presented with Theatre for a New Audience.. Partners.. BAC collaborates with many organizations and performing arts groups.. Among our partners are:.. Dance Films Association.. Danspace Project.. French Institute Alliance Française (FIAF).. International Contemporary Ensemble.. Irish Arts Center.. The Kitchen.. Lincoln Center.. National YoungArts Foundation.. Orchestra of St.. Luke s.. Performance Space 122.. Theatre for a New Audience.. Vixjo Design.. The Wooster Group..

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  • Title: Baryshnikov Arts Center · Upcoming Performances
    Descriptive info: Skip to Performance.. View Past Performances.. (2013).. A Video Installation by Roberta Friedman + Daniel Loewenthal.. Based on.. 49 Waltzes for the Five Boroughs.. by John Cage.. Dec 11 - 15, 2013.. A series of video installations based on John Cage s original graphic score creates striking visual and sound portraits of urban cultures in transition.. Free..

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  • Title: Baryshnikov Arts Center · Past Performances
    Descriptive info: Film.. Multimedia.. Music.. Theater.. Opera Omnia.. Claudio Monteverdi's.. The Return of Ulysses.. Fully staged, in English translation.. Sep 10 - 12, 2013.. / Théâtre des Bouffes du Nord.. Apr 21 - May 5, 2013.. Rosie Herrera Dance Theatre.. Dining Alone.. N.. Y.. Premiere.. Apr 18 + 19, 2013.. Kafka's Monkey.. Apr 3 - 17, 2013.. Face the Music + JACK Quartet..  ...   Fomenko.. Family Happiness.. U.. Jan 18 - 20, 22 + 23, 2013.. Emily Johnson / Catalyst.. Niicugni.. Jan 9 - 12, 2013.. ICElab:.. Self Fictions.. Dec 15, 2012.. doug elkins choreography, etc.. Scott, Queen of Marys.. |.. Mo(or)town Redux.. Dec 5 - 8, 2012.. Malavika Sarukkai.. The Spirit of the Body: Yatra—Seeking.. Nov 15 - 17, 2012.. Mesh.. Nov 3, 2012..

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  • Title: Baryshnikov Arts Center · Residency Landing Page
    Descriptive info: Netta Yerushalmy, Fall 2012 Dance Resident Artist.. The Builders Association, Spring 2011 Theater Resident Artist.. Deganit Shemy, Fall 2011 Dance Resident Artist.. Chi-wang Yang, Spring 2011 Theater Resident Artist.. Baryshnikov Arts Center.. Residency Program.. BAC s Artist Residency Program supports artists by providing space for creative investigation.. Each year, BAC hosts approximately 30 artists in residence to develop ideas, projects, and collaborations.. Support can include three weeks of free studio time, honoraria, technical and administrative services, advocacy, and work-in-progress showings.. BAC residencies  ...   of delivering a finished product.. However, works created here often go on to premiere at venues around the world including BAC s own stages.. BAC residencies are offered by invitation to artists; there is no formal application process or deadline.. Please note that because of the high volume of projects under consideration, unsolicited submissions may not receive a response.. View Upcoming Artists.. Jack Ferver.. Yasuko Yokoshi.. Okwui Okpokwasili.. Andrew Ondrejcak.. Joanna Kotze.. Cazimir Liske.. Helen Simoneau.. View Past Artists.. Support BAC's Residency Program..

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    Archived pages: 170