Hyperallergic has an exclusive clip from the upcoming DVD release of the dazzling documentary Cunningham.
I’ve studied dance nearly my whole life. I understand well the ways it can be inscrutable and transcendent. More often than not, the new documentary reveals how little dance is understood, and the pitfalls of trying to represent it.
More of an art- or archival collection than a typical book, Cunnigham’s recently reissued Changes gathers sketches, notes, photographs, programs, and all other manner of ephemera in a creative package.
On the centennial of the legendary dancer and choreographer’s birth, the documentary Cunningham pays tribute to his work and philosophy.
This year, the world’s biggest film festival is bringing a new documentary on Merce Cunningham, an adaptation of the art heist novel The Goldfinch, Agnès Varda’s final movie, and so much more.
Cunningham is centered in the book by Marianne Preger-Simon, which approaches her subject multiple times attempting to catch him off guard or see through his professional demeanor.
The documentary If the Dancer Dances follows the Stephen Petronio Company as they put their own spin on one of Cunningham’s most celebrated works.
Unexpectedly, as I began to watch the public performances of Merce Cunningham’s choreography in conjunction with the exhibition, his work started to grow on me.
The first large-scale art and technology collaborations that occurred in the United States are not as legendary as, for example, the 9th Street Show that launched the New York School of Abstract Expressionism, but they should be.
During the summer of 1960, dance artists Simone Forti, Nancy Meehan and Yvonne Rainer rented rehearsal space at Dance Players on Sixth Avenue so they could improvise together.
BRIGHTON, UK — Swapping out pieces in a game of chess is only a smart move provided you hold the most on the board, or at least the strongest position. But a new show at the Barbican in London suggests chess could be a “metaphor of exchange” between the artists it lines up. According to the theory, Duchamp swaps ideas with acolytes: John Cage, Jasper Johns, Merce Cunningham, and Robert Rauschenberg. And yet the Frenchman, superb chess player that he was, came out conceptually on top by the time of his death in 1968.
After last week’s post on Phyllida Barlow’s solo turn on the fourth floor of the New Museum, it seemed apropos to mention the exhibition one flight down, which is devoted to one of her better-known students from London’s Slade School, Tacita Dean: Five Americans.