PRESS


PHOTO: Fernando Maneca

CONTEXT:
About BAX


Making Sure That One Person Will Never Speak for Everyone: 25 years of the Brooklyn Arts Exchange


11/21/2016 | by PAUL KETCHUM | CULTUREBOT

"BAX’s 25th anniversary is a timely reminder that institutions, when run by passionate, generous people, can accomplish unique things in our ever-changing communities. BAX has been a hub for Brooklyn’s performance community for 25 years and shows no signs of slipping into the always growing fetid retention pond of institutional mediocrity. Maybe it’s the vigor of its staff headed by Warshaw, or maybe it’s the effervescence of the student performers, or maybe it’s the ever surprising work produced by its space grantees and Artists-in-Residence. But it’s most likely the exchange between all of these that keeps BAX the vigorous, vibrant community that it is."

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PHOTO: Corey Tenold for The New York Times

CONTEXT:
Interview with Former Artist In Residence (AIR)

Faye Driscoll’s Tingling Force Field With the Dance Audience


11/15/2016 | by SIOBHAN BURKE | THE NEW YORK TIMES

"Ms. Driscoll, a Los Angeles native, grew up being encouraged to pursue her dream of dancing professionally. (Her parents were both performers.) She attended the Tisch School of the Arts at New York University before joining the Doug Varone Dance Company. But she found herself questioning that path (“it felt choiceless in some ways”) and took time off.

She moved to the Bay Area and got a job at a movie theater. Within a few years, though, a residency at Brooklyn Arts Exchange drew her back to New York, where she quickly established herself on the contemporary-dance scene."


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PHOTO: Jordan Rathkopf

CONTEXT:
About BAX Artist In Residence

Body language: Mother-daughter dance closes language barrier


11/15/2016 | by JULIANNE CUBA | BROOKLYN PAPER

"A Ditmas Park performer is using a new theater piece to bridge her family’s generational — and linguistic — divide. Haruna Lee, who speaks very little Japanese, and her mom, Aoi Lee, who speaks very little English, will take the stage together for “Communing with You,” which combine the traditional Japanese dance-theater style known as Butoh with contemporary moves."

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PHOTO: William Alan

CONTEXT:
About BAX

“A current gaining more wave:” 25 Years of Artist Development at Brooklyn Arts Exchange


11/1/2016 | by JESS BARBAGALLO | THE BROOKLYN RAIL

"Upon entering the bright red doors of Brooklyn Arts Exchange (BAX) located at 421 Fifth Avenue, it is not uncommon to see a bevy of baby strollers—the quintessential Park Slope trademark—before ascending the stairs to be greeted at the reception window."

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200x200_2016-BAX-Youth-in-TONY-Kids


PHOTO: Madeline Wall

CONTEXT:
Youth Education

A+ after-school programs


August/September 2016 | by HANNAH DOOLING | TIME OUT NEW YORK KIDS

Expressive kiddos get expert instruction on various forms of dance and theater at BAX's studios in Park Slope.

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AcroBAX IMG_1654cc by Madeline Wall200x200
PHOTO: Madeline Wall

CONTEXT:
Youth Education


ART Profile: Brooklyn Arts Exchange


July/August 2016 | by JACKSON CHEN | THE HOOK MAGAZINE

The trendy Park Slope neighborhood of Brooklyn is forever alive with rhythmic drumming and feet thumping radiating from the corner building of 5th Avenue and 8th Street. The curious may glance up, but for the ones in the know, it's the beloved Brooklyn Arts Exchange, where different disciplines collide and form a vibrant artistic pulse.

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PHOTO: Whitney Browne

CONTEXT:
Performance at BAX

"Her Fishtrap": a reflection from Ni'Ja Whitson


06/28/2016 | by NI'JA WHITSON | INFINITE BODY

Her Fishtrap

Cold jar swings
from the ceiling.
Coating
its translucence
interior
thick
off white spill.
A residue
memory, and time.

It is another of McGregor’s portals.


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Tanisha Christie
PHOTO: JD URBAN

CONTEXT:
About BAX

Making Diversity Happen


006/23/2016 | by BRIAN McCORMICK | GAY CITY NEWS

"BAX may not share in the glory of world premieres, but its diaspora of artists is renowned. It has become a leading incubator for professional dance, theater, and performance artists to develop their work — and was recognized in February with funding from the Doris Duke Charitable Foundation. "

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Marya Warshaw, Paloma McGregor
PHOTO: Fernando Maneca

CONTEXT:
About BAX

Community Profile: Brooklyn Arts Exchange

06/17/2016
by JAIME SHEARN COAN in Conversation with MARYA WARSHAW | DANSPACE PROJECT INC

"It is not uncommon for an artist participating in one of BAX's program to return in another capacity, whether Artists-in-Residence, Space Grant Recipients, Teaching Artists, Artist Advisors..."

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Parent/Artist
PHOTO: Margaret Sunghe Paek by Ian Douglas

CONTEXT:
About BAX

Park Slope Nonprofit Gives Artists Raising Young Children a Helping Hand


02/05/2014 | by LESLIE ALBRECHT | DNAinfo

"It was really productive, not only in terms of reporting on the grant but in figuring out how to sustain working in the arts while being a parent," Westwood said. "It taught me that the way you figure it out is that you just have to do it."

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PHOTO: Iquo Essien

CONTEXT:
Performance at BAX

LOVE |FORTE: A Collective's Memory Witholdings


05/05/2013 | by A. NIA AUSTIN-EDWARDS | THE DANCE ENTHUSIAST

"LOVE|FORTÉ, A Collective's Memory Withholdings opens with Marjani Forté, face powdered white, curled under a table. The work goes on to engage the audience in a journey of memories -- a woman with no name, garlic and onions, Mississippi River flooding, vegetable picking, cooking, and more. In the process they fill the space, the Theater at BAX/Brooklyn Arts Exchange, and create a series of worlds within.

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Eva
PHOTO: Susan Kraft for the NYPL

CONTEXT:
About BAX

The Dance Oral History Channel:
Marya Warshaw Interview, Excerpt


03/19/2012 | by EVA YAA ASANTEWAA | NEW YORK PUBLIC LIBRARY

"In this opening segment of the interview (approximately 48 mins.), Marya Warshaw describes her parents and family background as well as important early teachers and mentors in her life including June Finch. She remembers studying at the New Dance Group studio and working with Charles Weidman. Warshaw describes the social and cultural climate of her childhood and her appreciation of the diverse creative education she received.

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YouthWorks
PHOTO: YouthWorks rehearsal by Fernando Maneca

CONTEXT:
Youth Education

YouthWorks Celebrates 20 Years


05/2011 | by Hannah Maria Hayes
Lifetime Learners (Dance Magazine & Dance Teacher)

The coaches help guide the creative process. They’re not teaching in a traditional sense or imposing personal aesthetics on the work, says Donna Costello, YouthWorks coordinator and director of BAX’s Dance Performance Workshop. “Supporting a young person’s imagination is incredible. Anyone can have an idea but to have it realized is an incredible, important thing to learn,” she says. “With Youthworks, adults are supporting that. In that beautiful naïve way, the young artists realize that they can do anything they want.”

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Shannon
PHOTO: courtesy of the Brooklyn Arts Exchange

CONTEXT:
About BAX

BAX Upstart Festival Curators Discuss Standout Choreography


03/03/2011 | by CARRIE STERN | BROOKLYN DAILY EAGLE

"So you moved to New York last spring. You just graduated from college; maybe you have an MFA in dance in your pocket. You managed to find a room, probably in Brooklyn, unless you live with your parents, and a job to pay the rent. But you want to make dances. That’s why you came here, to be a choreographer. But how to start?"

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Nami
PHOTO: courtesy of the Brooklyn Arts Exchange

CONTEXT:
Performance at BAX

Nami Yamamoto


11/17/2008 | by JIM DOWLING | DANCE MAGAZINE

"Nami Yamamoto’s the last word was PAPIREPOSE defies attempted explanations. The stark, uncompromising product of a two-year BAX residency takes form as a procession of scenes with evocative names like “a visitor in my window” and “a pair of steep eyes.”"

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Allison
PHOTO: Richard Termine for The New York Times

CONTEXT:
Performance at BAX

Fantasy All Tangled Up in Allison Farrow's 'Tiny Open Sky'


04/25/2006 | by CLAUDIA LA ROCCO | NEW YORK TIMES

"So the philosopher Paul Virilio, the speedster Craig Breedlove and the film star Marlene Dietrich walk into a bar.
O.K., not a bar — a studio, where they spend the next two years getting scrambled through Allison Farrow's imagination, along with some film, åç movement and lots of mystifying monologues. What comes out is "Tiny Open Sky," performed by Arturo Vidich and Ms. Farrow on Saturday at the Brooklyn Arts Exchange in Park Slope, where Ms. Farrow is coming to the end of a two-year artistic residency."


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CONTEXT:
Marya Warshaw is quoted on the dance field's migration to Brooklyn.

Dance's Vanguard Stakes Out Brooklyn


4/01/2005 | By ERIKA KINETZ | NEW YORK TIMES

"A lot of younger people live in the outer boroughs, particularly in Brooklyn," said Marya Warshaw, 53, the director of the Brooklyn Arts Exchange, who has been presenting dance in the borough since 1991. "They are interested in going out to see things where they live, and there's less stigma attached to traveling to Brooklyn than when I was younger."

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Melissa Briggs Dance and Nami Yamamoto
PHOTO: Angela Jimenez for The Brooklyn Rail

CONTEXT:
Performance at BAX

Emerging Choreographers: Melissa Briggs Dance and Nami Yamamoto


04/01/2004 | by LAURA BARCELLA | THE BROOKLYN RAIL

"Melissa Briggs has a thing for trains. While the Brooklyn-based choreographer, who is currently an artist-in-residence at the Brooklyn Arts Exchange (BAX) in Park Slope, doesn’t state this explicitly in conversation, it’s implicit in her work, where trains play a significant role both in her CityStory (2002) and in her latest work The Book Project. Here, trains link three very different, but equally fascinating pairs of classic literary characters. “Trains have a really interesting part; they’re a symbol of industrialization,” says Briggs. “As these scenes move [chronologically] through time, it’s what ties them together.”"

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Melissa
PHOTO: Courtesy of the Artist

CONTEXT:
Performance at BAX

Women at Risk


04/30/2002 | by DEBORAH JOWITT | THE VILLAGE VOICE

"The hardy Brooklyn Arts Exchange (BAX) has a history of presenting bold new work. Melissa Briggs's in-progress Citystory certainly deserves both adjectives. Her dancers (Kelly Bartnik, Donna Costello, Toni Melaas, and Mindy Nelson) have the look of apprentices in a society they're just beginning to understand. Their eyes are blackened, and each has a black line running from under her chin to the neckline of her maroon outfit. Their dancing is loose, but strong and clear."

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Marya
PHOTO: Jay Muhlin for The Village Voice

CONTEXT:
About BAX

Incubator Space


04/24/2001 | by MARYA WARSHAW | THE VILLAGE VOICE

"Since 1991 BAX/Brooklyn Arts Exchange has awarded 10 artist-in-residence grants and 56 space grants totaling more than 6000 hours of space to create dance. When the recipient artists, all of whom also had opportunities to present their work during their residencies, are asked what is most important to them, they name space, time, support, and a safe place to take risks."

[READ MORE]
A
PHOTO: Andrea Mohin for The New York Times

CONTEXT:
About BAX

DANCE; A Plie Grows in Brooklyn


1/23/1994 | by JENNIFER DUNNING | THE NEW YORK TIMES

"During the day, the studios may be filled with performers rehearsing for a show or children learning how to dance. In the office, a space partitioned off the small lobby, a woman is likely to be working on a newsletter or meeting with dancers, musicians or producers. At night, the larger of the two studios becomes a little theater, simple but well equipped, for programs of dance, music and theater by artists from the neighborhood, the city and beyond. One night, a dancer and a violinist may be found winding around each other in a dreamlike collaborative duet; another night, a comedian may be found portraying a dithering fund-raiser gone amok."

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Will
PHOTO: Andrew Nawrocki

CONTEXT:
Beyond the Residency

American Theater Company’s 2016–17 season: three new plays and Inge’s ‘Picnic’


05/17/2016 | by Kris Vire | TimeOut: Chicago
Will Davis | AIR (2015- 2016)

"American Theater Company has announced its 2016–17 season, the first slate to be chosen by new artistic director Will Davis. The lineup includes two world premieres, a new play that Davis previously directed in New York, and Davis’s “loving reimagining” of the William Inge classic Picnic.”

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The
PHOTO: Theo Coté for InfiniteBody

CONTEXT:
Beyond the Residency

Ballez: La MaMa Moves presents ballet on the wild side


04/30/2016 | by Eva Yaa Asantewaa | InfiniteBody
"Sleeping Beauty and the Beast" | Katy Pyle and Jules Skloot with the company Ballez | AIR (2013- 2015)
La MaMa Ellen Stewart Theatre | 04/29-05/08/2016

"So big that--well, you know those old timers who regale you with stories about being there when so-and-so made her stunning debut or first danced with Nureyev and knocked their socks off in that difficult role? One day, if you're lucky, you will be that old timer, unable to shut up about how you saw Ballez premiere Sleeping Beauty & The Beast at La MaMa Moves.”

[READ MORE]
The
PHOTO: Andrea Mohin for The New York Times

CONTEXT:
Beyond the Residency

Review: For This Spin on 'Sleeping Beauty,' Someday Her Princess Will Come


05/01/2016 | by Brian Seibert | New York Times

"Sleeping Beauty and the Beast" | Katy Pyle and Jules Skloot with the company Ballez | AIR (2013- 2015)
La MaMa Ellen Stewart Theatre | 04/29-05/08/2016

"Revision is the mission of Ballez, Ms. Pyle’s company of lesbian, gay and transgender performers, who rewrite fairy-tale story ballets to include people who self-identify the same way. Its adaptation of “Sleeping Beauty” is conceived with impressive thoroughness and many delightfully apt, even brilliant choices.”

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Erin
PHOTO: Erin Markey & Becca Blackwell by Allison Michael Orenstein, Art Direction by Signe Mae Olson

CONTEXT:
Beyond the Residency

Sustaining Intimacy
With Erin Markey and Becca Blackwell


01/13/2016 | by ELIZA BENT | American Theatre

"A Ride on the Irish Cream" | Erin Markey | AIR (2013- 2015)
Abrons Arts Center | 01/13-01/31/2016

"The couple, costarring in ‘A Ride on the Irish Cream’ at Abrons Arts Center, realize that writing about your relationship can be a double-edged sword.”

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Erin
PHOTO: Krista Schlueter for The New York Times

CONTEXT:
Beyond the Residency

A 'Barbie From Outer Space'
Touches Down on a New Stage


01/12/2016 | by Jason Zinoman | New York Times
"A Ride on the Irish Cream" | Erin Markey | AIR (2013- 2015)
Abrons Arts Center | 01/13-01/31/2016

"Such incongruities come easily to Ms. Markey, who veers from scary intensity to a strange plastic prettiness that makes her seem like a character out of a lost Disney cartoon that the company decided not to release to the public. Tina Satter, the Half Straddle company’s leader, who has directed her four times, describes her stage presence as “very alien, like Barbie from outer space.”

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Luciana
PHOTO: Angela Jimenez for The Brooklyn Rail

CONTEXT:
Beyond the Residency


Creeping in a Castle in the Dark


04/30/2010 | by Gia Kourlas | New York Times
"Puro Deseo" | luciana achugar | AIR (2009 - 2011)
The Kitchen | 04/29 - 05/02/2010

"The work, her most sophisticated to date, is at once stripped down and, for the first half at least, amplified by an uncanny theatricality that fluctuates between gothic horror and the primal, moving body. While she has frequently choreographed for women, conjuring a communal atmosphere of feminine mystique, “Puro Deseo” signifies a departure, frankly welcome: Ms. Achugar performs with Michael Mahalchick, her longtime collaborator and dramaturge. They are equals."

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Young
PHOTO: Sara Krulwich for The New York Times

CONTEXT:
Beyond the Residency

Off-Center Refractions of African-American Worlds


01/12/2009 | by Charles Isherwood | New York Times
"The Shipment" | Young Jean Lee | AIR (2006 - 2008)
The Kitchen | 01/08 - 01/31/2009

"But both the play’s surface realism and the lurid incidents Ms. Lee sprinkles across it are really just diversionary tactics meant to keep us guessing about the larger game she’s playing. To say much more would be to spoil the sucker punch line, but as she does in the best of the material in “The Shipment,” Ms. Lee sets you thinking about how we unconsciously process experience — at the theater, or in life — through the filter of racial perspective, and how hard it can be to see the world truly in something other than black and white."

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Jillian
PHOTO: Credit Ian Douglas for The New York Times

CONTEXT:
Beyond the Residency

Complex Geometry and Sinuous Moves


12/09/2012 | by Brian Seibert | New York Times
"Guiding Light" | Jillian Peña | AIR (2013 - 2015)
The Chocolate Factory | 12/05 - 12/08/2012

"As you walk into the Chocolate Factory, where the hourlong dance had its premiere on Wednesday, Cassie Mey, Lea Fulton and Alexandra Albrecht invitingly offer you wine. Then, in gold unitards embellished with lace shirt fronts and cuffs (smartly designed by Reid Bartelme), they do ballet exercises."

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Jillian
PHOTO: Andrea Mohin for The New York Times

CONTEXT:
Beyond the Residency

Mirror Images Replicating in a Self-Contained Realm


10/05/2014 | by Siobhan Burke | New York Times
"Polly Pocket: Expansion Pack" | Jillian Peña | AIR (2013 - 2015)
Danspace Project | 10/2 - 10/4/2014

"Much like the toy from which the piece takes its name — miniature plastic dolls in a miniature foldout house — their world is a kind of airtight pod we can peer into, sectioned off from ours by a low white wall along the front of the space and white curtains on either side. They have fuel (a water cooler), and they’ll need it. Time unfolds relentlessly here, a limitless resource, marked by a steady stream of precise steps, ballet steps especially, and the dancers’ methodical counting."

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Sam
PHOTO: Rachel Roberts for Backstage

CONTEXT:
Beyond the Residency

Darling


06/25/2009 | by Jason Fitzgerald | Backstage
"Darling" | Sam Kim | AIR (2007 - 2009)
Performance Space 122 | 06/24 - 06/28/2009

"The most memorable moments in Darling, the new dance-theatre piece by choreographer Sam Kim, are the many entrances and exits of its four dancers. One emerges like a vampire at dusk from below the wide black staircase that dominates the stage. Another falls out of a window above the top step, and we watch her legs floating in space for many minutes. Later she reappears behind a door that opens in a long, eerie silence."

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Young
PHOTO: Ryan Jensen for The New York Times

CONTEXT:
Beyond the Residency


Confronting Questions of Faith With a Few New Responses


05/09/2009 | by Jason Zinoman | New York Times
"Church" | Young Jean Lee | AIR (2006 - 2008)
Performance Space 122 | 04/26/2007 - 05/12/2007

"“Church” is as much about the art of persuasion as it is about religion. It’s organized like an excellent and occasionally angry argument, starting by attacking the opponent’s ideas and finishing by proposing new ones. But who is Ms. Lee arguing with? The supposedly godless denizens of the theater world? Or is she confronting her own lack of faith?"

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Andrew
PHOTO: Rachel Papo for The New York Times

CONTEXT:
Beyond the Residency

Rejected Bits and Pieces of Dance, Recycled


09/04/2008 | by Alastair Macaulay | New York Times
"Accursed Items" | Andrew Dinwiddie | AIR (2007 - 2008)
Ontological Theater at St. Mark's Church | 09/03 - 09/06/2008

"“I have but gathered a nosegay of strange flowers, and have put nothing of mine unto it but the thread to bind them,” Montaigne wrote. From that, Lord Wavell took “Other Men’s Flowers” as the title for his own fine poetry anthology."

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Levi
PHOTO: Paula Court for Dance Beat

CONTEXT:
Beyond the Residency

Take Them Disappearing


02/15/2012 | by Deborah Jowitt | DanceBeat
"Counterfeit Scenario" | Levi Gonzalez | AIR (2010 - 2012)
The Kitchen | 02/09 - 02/11/2012

"Gonzalez and Green walk along, mirror each other, and dance in understated side-by side unison, as if they’re having a nice, easy-going time. And we’re left to applaud the very theatrical anti-theatricality of the piece, and to head home contemplating what’s counterfeit and what’s real, and how much of the “realness” might be an illusion and the presumed spontaneity planned. Even when you believe you have the answers, you know Gonzalez has counted on your asking the questions."

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Andrew
PHOTO: Agnes Bolt for The New York Times

CONTEXT:
Beyond the Residency

Say, Just Whose Choreography Is This?


08/22/2008 | by Claudia La Rocco | New York Times
"Accursed Items" | Andrew Dinwiddie | AIR (2007 - 2008)
Ontological Theater at St. Mark's Church | 09/03 - 09/06/2008

"Mr. Dinwiddie is among a number of choreographers whose recent work raises questions of authorship and originality. Rather than creating a unique movement language, à la Martha Graham or Merce Cunningham, and maintaining a company of dancers to hone those techniques, they are focusing on conceptual issues, drawing on collaborators who shift from project to project and employing new strategies to share information. In short, these artists are playing with the very definition of choreography."

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Katy
PHOTO: Hedia Maron for InfiniteBody

CONTEXT:
Beyond the Residency

On the APAP Trail: Half Straddle and Ballez


01/11/2015 | by Eva Yaa Asantewaa | InfiniteBody
"The Firebird" | Katy Pyle | AIR (2013 - 2015)
Abrons Arts Center | 01/10 - 01/11/2015

"The 45-minute program, beautifully lit by designer Carrie Wood, sampled the Ballez repertoire, including a suite from The Firebird, A Ballez; the Dying Swan excerpt from Sleeping Beauty & the Beast; and the smoking 1993 Club Suite from that last piece. With the exception of the striking Dying Swan solo--attributed to Pyle and dancer Michael Helland after the Fokine choreography for Pavlova--the other works are the handiwork of Pyle and Jules Skloot in collaboration with their ensemble."

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Anna
PHOTO: Courtesy of the Artist

CONTEXT:
Beyond the Residency

Review: Anna Sperber's Plays With Light, Movement and Architecture in 'Ruptured Horizon'


06/04/2015 | Gia Kourlas | New York Times
"Ruptured Horizon" | Anna Sperber | AIR (2013 - 2015)
Gibney Dance | 06/03 - 06/06 and 06/10 - 06/13/2015

"“Ruptured Horizon” isn’t the first time Anna Sperber, a Brooklyn choreographer, has shown a fascination for the light and architecture of a space and then turned it into a frame for a non-narrative dance. How does movement alter a room? How does it make a space expand and recede?"

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Melissa
PHOTO: Courtesy of the Artist

CONTEXT:
Beyond the Residency

A Choreographer Takes a Page From Four Books


11/02/2005 | Roslyn Sulcas | New York Times
"Book Dances" | Melissa Briggs | AIR (2003 - 2005)
First Unitarian Church | 11/04 - 11/06/2005

"Melissa Briggs's "Book Dances" is intriguingly conceived. Four scenes from four famous works of fiction are staged in different parts of the First Unitarian Church in Brooklyn Heights and presented in turn to four circulating groups from the audience. Happily, on Saturday night, the effect was as interesting as the premise."

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