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Writer: RichardCunningham MD
Biography: Husband of Donna, dad of Burns, Kathryn, Michael & Whitaker, stepdad of Annaka, board certified orthopaedic surgeon, avid obstacle and trail racer. Go Vols!!

actors Carolyn Brown

106 vote

USA, Germany

Year 2019

duration 1 Hour 33 Minute

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Merce Cunningham Merce Cunningham in 1961 Born Mercier Philip Cunningham April 16, 1919 Centralia, Washington Died July 26, 2009 (aged 90) New York, New York Occupation Dancer, choreographer Years active 1938–2009 Partner(s) John Cage [1] Website Mercier Philip " Merce " Cunningham (April 16, 1919 – July 26, 2009) was an American dancer and choreographer who was at the forefront of American modern dance for more than 50 years. He is also notable for his frequent collaborations with artists of other disciplines, including musicians John Cage, David Tudor, Brian Eno, Radiohead, artists Robert Rauschenberg, Bruce Nauman, Andy Warhol, Roy Lichtenstein, Frank Stella, Jasper Johns, and costume designer Rei Kawakubo. Works that he produced with these artists had a profound impact on avant-garde art beyond the world of dance. As a choreographer, teacher and leader of the Merce Cunningham Dance Company, [2] Cunningham had a profound influence on modern dance. Many dancers who trained with Cunningham formed their own companies. They include Paul Taylor, Remy Charlip, Viola Farber, Charles Moulton, Karole Armitage, Robert Kovich, Foofwa d'Imobilité, Kimberly Bartosik, Flo Ankah, Jan Van Dyke, Jonah Bokaer, and Alice Reyes. In 2009, the Cunningham Dance Foundation announced the Legacy Plan, a precedent-setting plan for the continuation of Cunningham's work and the celebration and preservation of his artistic legacy. [3] Cunningham earned some of the highest honors bestowed in the arts, including the National Medal of Arts and the MacArthur Fellowship. He also received Japan's Praemium Imperiale and a British Laurence Olivier Award, and was named Officier of the Légion d'honneur in France. Cunningham's life and artistic vision have been the subject of numerous books, films, and exhibitions, and his works have been presented by groups including the Paris Opéra Ballet, New York City Ballet, American Ballet Theatre, White Oak Dance Project, and London's Rambert Dance Company. Biography [ edit] Merce Cunningham was born in Centralia, Washington in 1919, the second of three sons. Both his brothers followed their father, Clifford D. Cunningham, [4] into the legal profession. Cunningham first experienced dance while living in Centralia. He took tap class from a local teacher, Mrs. Maude Barrett, whose energy and spirit taught him to love dance. Her emphasis on precise musical timing and rhythm provided him a clear understanding of musicality that he implemented in his later dance pieces. [5] He attended the Cornish School in Seattle, headed by Nellie Cornish, from 1937 to 1939 to study acting, but found drama's reliance on text and miming too limiting and concrete. Cunningham preferred the ambiguous nature of dance, which gave him an outlet for exploration of movement. [6] During this time, Martha Graham saw Cunningham dance and invited him to join her company. [7] In 1939, Cunningham moved to New York and danced as a soloist in the Martha Graham Dance Company for six years. He presented his first solo concert in New York in April 1944 with composer John Cage, who became his lifelong romantic partner and frequent collaborator until Cage's death in 1992. [8] In the summer of 1953, as a teacher in residence at Black Mountain College, Cunningham formed the Merce Cunningham Dance Company. Over the course of his career, Cunningham choreographed more than 200 dances and over 800 "Events, " or site-specific choreographic works. In 1963 he joined with Cage to create the Walker Art Center 's first performance, instigating what would be a 25-year collaborative relationship with the Walker. In his performances, he often used the I Ching in order to determine the sequence of his dances and, often, dancers were not informed of the order until the night of the performance. In addition to his role as choreographer, Cunningham performed as a dancer in his company into the early 1990s. In 1968 Cunningham and Francis Starr published a book, Changes: Notes on Choreography, containing various sketches of their choreography. He continued to lead his company until his death, and presented a new work, Nearly Ninety, in April 2009, at the Brooklyn Academy of Music, New York, to mark his 90th birthday. [9] Cunningham lived in New York City, and was Artistic Director of the Merce Cunningham Dance Company. He died in his home at the age of 90. [10] Merce Cunningham Dance Company [ edit] Cunningham formed Merce Cunningham Dance Company (MCDC) at Black Mountain College in 1953. Guided by its leader's radical approach to space, time and technology, the Company has forged a distinctive style, reflecting Cunningham's technique and illuminating the near limitless possibility for human movement. The original company included dancers Carolyn Brown, Viola Farber, Paul Taylor, and Remy Charlip, and musicians John Cage and David Tudor. In 1964 the Cunningham Dance Foundation was established to support his work. [11] MCDC made its first international tour in 1964, visiting Europe and Asia. [11] From 1971 until its dissolution in 2012, the company was based in the Westbeth Artists Community in West Village; for a time Cunningham himself lived a block away at 107 Bank Street, with John Cage. On July 20, 1999 Merce Cunningham and Mikhail Baryshnikov performed together at the New York State Theater for Cunningham's 80th birthday. [12] In its later years, the company had a two-year residency at Dia:Beacon, where MCDC performed Events, Cunningham's site-specific choreographic collages, in the galleries of Richard Serra, Dan Flavin, and Sol LeWitt among others. In 2007, MCDC premiered XOVER, Cunningham's final collaboration with Rauschenberg, at Dartmouth College in New Hampshire. In 2009, MCDC premiered Cunningham's newest work, Nearly Ninety, at the Brooklyn Academy of Music. The Company concluded its farewell tour on December 31, 2011 [13] with a performance at the Park Avenue Armory. [14] Artistic philosophy [ edit] Collaboration [ edit] Still frame from Loops, a digital art collaboration with Cunningham and The OpenEnded Group that interprets Cunningham's motion-captured dance for the hands. Merce Cunningham Dance Company frequently collaborated with visual artists, architects, designers, and musicians. Many of Cunningham's most famous innovations were developed in collaboration with composer John Cage, his life partner. Cunningham and Cage used stochastic (random) procedures to generate material, discarding many artistic traditions of narrative and form. Famously, they asserted that a dance and its music should not be intentionally coordinated with one another. [15] After his death, John Cage was succeeded in the role of music director by David Tudor. After 1995, MCDC's music director was Takehisa Kosugi. MCDC commissioned more work from contemporary composers than any other dance company. Its repertory included works by musicians ranging from John Cage and Gordon Mumma to Gavin Bryars as well as popular bands like Radiohead, Sigur Rós and Sonic Youth. [16] The Company also collaborated with an array of visual artists and designers. Robert Rauschenberg, whose famous "Combines" reflect the approach he used to create décor for a number of MCDC's early works, served as the Company's resident designer from 1954 through 1964. Jasper Johns followed as Artistic Advisor from 1967 until 1980, and Mark Lancaster from 1980 through 1984. The last Advisors to be appointed were William Anastasi and Dove Bradshaw in 1984. Other artists who have collaborated with MCDC include Daniel Arsham, Tacita Dean, Liz Phillips, Rei Kawakubo, Roy Lichtenstein, Bruce Nauman, Ernesto Neto, Frank Stella, Benedetta Tagliabue, and Andy Warhol. Chance operations [ edit] John Cage and I became interested in the use of chance in the 50s. I think one of the very primary things that happened then was the publication of the " I Ching, " the Chinese book of changes, from which you can cast your fortune: the hexagrams. Cage took it to work in his way of making compositions then; and he used the idea of 64—the number of the hexagrams —to say that you had 64, for example, sounds; then you could cast, by chance, to find which sound first appeared, cast again, to say which sound came second, cast again, so that it's done by, in that sense, chance operations. Instead of finding out what you think should follow—say a particular sound—what did the I Ching suggest? Well, I took this also for dance. I was working on a title called, "Untitled Solo, " and I had made—using the chance operations—a series of movements written on scraps of paper for the legs and the arms, the head, all different. And it was done not to the music but with the music of Christian Wolff. —  Merce Cunningham, Merce Cunningham: A Lifetime of Dance, 2000 Cunningham valued the process of a work over the product. Because of his strong interest in the creation of the choreography he used chance procedures in his work. A chance procedure means that the order of the steps or sequence is unknown until the actual performance and is decided by chance. For instance in his work Suite by Chance he used the toss of a coin to determine how to put the choreographed sequences together. Indeterminacy was another part of Cunningham's work. Many of his pieces had sections or sequences that were rehearsed so that they could be put in any order and done at any time. [17] Although the use of chance operations was considered an abrogation of artistic responsibility, [18] Cunningham was thrilled by a process that arrives at works that could never have been created through traditional collaboration. This does not mean, however, that Cunningham considered every piece created in this fashion a masterpiece. Those dances that did not "work" were quickly dropped from repertory, while those that do were celebrated as serendipitous discoveries. Cunningham used "non-representational" choreography which simply emphasizes movement, and does not necessarily represent any historical narrative, emotional situation, or idea. Such non-representational dance appears in many styles throughout history, but was not commonly used by ballet or Martha Graham, Cunningham's primary influences. In the use of chance procedures Cunningham abandoned the more traditional structured form of dance, he did not believe that a dance needs a beginning, middle or end. [17] [19] Examples in works [ edit] In Sixteen Dances for Soloist and Company of Three (1951) Cunningham used Indeterminacy for the first time in this piece; the changing element for each show was the sequence of the sections. In Field Dances (1963) Cunningham experimented with giving the dancer more freedom. Each dancer was given a sequence of movements with which they could do as they pleased. This included exiting and entering at will, executing it in any order and as many times as desired. In Story (1963) Cunningham experimented with the variables of costumes and sets. Before each performance dancers chose an outfit from a pile of second hand clothes picked out by the designer, Robert Rauschenberg. Rauschenberg was also responsible for creating a new set for every show with items he found in the theatre. Suite by Chance (1953) was his first work made entirely through chance procedures. Charts were created listing elements such as space, time, and positions. A coin was then tossed to determine each of these elements. Canfield (1969) was created by using playing cards. Each movement was assigned a playing card and chosen randomly. [20] Use of technology [ edit] Cunningham's lifelong passion for exploration and innovation made him a leader in applying new technologies to the arts. He began investigating dance on film in the 1970s, and after 1991 choreographed using the computer program DanceForms. Cunningham explored motion capture technology with digital artists Paul Kaiser and Shelley Eshkar to create Hand-drawn Spaces, a three-screen animation that was commissioned by and premiered at SIGGRAPH in 1998. This led to a live dance for the stage, BIPED, for which Kaiser and Eshkar provided the projected decor. In 2008, Cunningham released his Loops choreography for the hands as motion-capture data under a Creative Commons license; this was the basis for the open source collaboration of the same name with The OpenEnded Group. Cunningham was one of the first choreographers to begin experimenting with film. He created an original work for the video Westbeth (1974) in collaboration with filmmaker Charles Atlas [17] In 2009, Cunningham's interest in new media led to the creation of the behind-the-scenes webcast Mondays with Merce. [21] Perspective [ edit] The use of stage space also changed in Cunningham's choreography. The "front and centre" spot traditionally coveted by soloists no longer exists in his works. Dance can take place on any part of the stage; it need not even be frontally oriented, but can be viewed from any angle (at performances in Cunningham's own studio, for instance, audiences are seated in an L-shaped configuration). The viewer's focus is never directed to a particular spot; he must often decide among many centres of activity. [22] Merce Cunningham saw randomness and arbitrariness as positive qualities because they exist in real life. [17] Most of Cunningham's choreographic process works to break the boundaries of "putting on a show, " the removal of center stage is an example of this—without a focal point for the audience, no one dancer or step holds the most value and can be seen as arbitrary... or not. Legacy Plan [ edit] The Cunningham Dance Foundation announced the Legacy Plan (LLP) in June 2009. The Plan provided a roadmap for the future of the Merce Cunningham Dance Company, as envisioned by Cunningham. The first of its kind in the dance world, the plan represented Cunningham's vision for continuing his work in the upcoming years, transitioning his Company once he was no longer able to lead it, and preserving his oeuvre. The Legacy Plan included a comprehensive digital documentation and preservation program, which ensures that pieces from his repertory can be studied, performed and enjoyed by future generations with knowledge of how they originally came to life. By other provisions of the plan, the Merce Cunningham Trust, established by Cunningham to serve as the custodian for his works, controls his dances for licensing purposes; Cunningham associates prepared detailed records of the dances so they could be licensed and given authentic productions by other companies. [23] In addition, the plan outlined a final international tour for the Company, and, ultimately, the closure of the Cunningham Dance Foundation and Merce Cunningham Dance Company and the transfer of all assets to the Merce Cunningham Trust. From Merce's death at age 90 through the Board's last meeting in 2012, the Legacy Plan implemented his wish that the Company complete a worldwide legacy tour and then close. The final performance of the Merce Cunningham Dance Company was on December 31, 2011, at the Park Avenue Armory in New York City. The final meeting of the Board of Directors for the Merce Cunningham Dance Company was held March 15, 2012, in Cunningham's studio at the top of the Westbeth building in the West Village. [24] Exhibitions [ edit] There have been numerous exhibitions dedicated to Cunningham's work. In addition, his visual art is represented by Margarete Roeder Gallery. The major exhibition Invention: Merce Cunningham & Collaborators at the New York Public Library for the Performing Arts closed on October 13, 2007. Merce Cunningham: Dancing on the Cutting Edge, an exhibition of recent design for MCDC, opened at the Museum of Contemporary Art, North Miami, in January 2007. A trio of exhibitions devoted to John Cage, Robert Rauschenberg, and Merce Cunningham, curated by Ron Bishop, were shown in the spring of 2002 at the Gallery of Fine Art, Edison College, Fort Myers, Florida. A major exhibition about Cunningham and his collaborations, curated by Germano Celant, was first seen at the Fundació Antoni Tàpies in Barcelona in 1999, and subsequently at the Fundação de Serralves, Porto, Portugal, 1999; the Museum Moderner Kunst Stiftung Ludwig, Vienna, 2000; and the Museo d'Arte Contemporanea, Castello di Rivoli, Turin, 2000. Works [ edit] Cunningham choreographed almost 200 works for his company. [25] Suite for Five (1956–1958) Music: John Cage, Music for Piano Costumes: Robert Rauschenberg [26] Lighting: Beverly Emmons Crises (1960) Music: Conlon Nancarrow (from Rhythm Studies for Player Piano) Costumes, Lighting: Robert Rauschenberg Rainforest (1968) Music: David Tudor Décor: Andy Warhol (Silver Clouds) Costumes: Jasper Johns (uncredited) Lighting: Richard Nelson Second Hand (1970) Music: John Cage, (Cheap Imitation) Décor & Costumes: Jasper Johns Lighting: Richard Nelson (1970) Christine Shallenberg (2008) Sounddance (1975) Music: David Tudor, Toneburst & Untitled (1975/1994) Décor, Lighting, Costumes: Mark Lancaster Fabrications (1987) Music: Emanuel Dimas de Melo Pimenta, Short Waves & SBbr Décor, Costumes: Dove Bradshaw Lighting: Josh Johnson CRWDSPCR (1993) Music: John King, blues 99 Ocean (1994) Music: David Tudor, Soundings: Ocean Diary and Andrew Culver, Ocean 1–95 Décor, Lighting, Costumes: Marsha Skinner BIPED (1999) Music: Gavin Bryars, Biped Décor: Paul Kaiser, Shelley Eshkar Costumes: Suzanne Gallo Lighting: Aaron Copp Split Sides (2003) Music: Radiohead, Sigur Rós Décor: Robert Heishman, Catherine Yass Costumes: James Hall Lighting: James F. Ingalls Views on Stage (2004) Music: John Cage, ASLSP and Music for Two Décor: Ernesto Neto, Other Animal eyeSpace (2006) Music: Mikel Rouse, International Cloud Atlas Décor: Henry Samelson, Blues Arrive Not Anticipating What Transpires Even Between Themselves Costumes: Henry Samelson eyeSpace (2007) Music: David Behrman, Long Throw and/or Annea Lockwood, Jitterbug Décor: Daniel Arsham, ODE/EON Costumes: Daniel Arsham XOVER (2007) Music: John Cage, Aria (1958) and Fontana Mix (1958) Décor & Costumes: Robert Rauschenberg, Plank Nearly Ninety (2009) Music: John Paul Jones, Takehisa Kosugi, Sonic Youth Décor: Benedetta Tagliabue Costumes: Romeo Gigli for io ipse idem Lighting: Brian MacDevitt Video Design: Franc Aleu Honors and awards [ edit] 2009 Jacob's Pillow Dance Award Skowhegan Medal for Performance 2008 Honorary Doctorate of Fine Arts from Bard College, Annandale-on-Hudson, NY 2007 Nelson A. Rockefeller Award, Purchase College School of the Arts, State University of New York Montgomery Fellow (Arts and Literature), Dartmouth College, Hanover NH 2006 Honorary Doctorate of Fine Arts, Cornish College of the Arts, Seattle WA 2005 Honorary Doctorate of Humane Letters, University of Minnesota, Minneapolis MN Praemium Imperiale, Tokyo 2004 Officier of the Légion d'Honneur, France 2003 Edward MacDowell Medal in interdisciplinary art, the MacDowell Colony, Peterborough NH 2002 Kitty Carlisle Hart Award for Outstanding Achievement in the Arts ( Arts & Business Council), New York NY MATA (Music at the Anthology) Award, New York NY Medal of the City of Dijon, France 2001 Coat of Arms of the City of Mulhouse, France La Grande Médaille de la Ville de Paris (echelon vermeil) from the Mayor of Paris Career Transition for Dancers Award, New York NY Herald Archangel Award, Glasgow, Scotland Village Award, Greenwich Village Society for Historic Preservation, New York Honorary degree from Edith Cowan University, Perth, Western Australia 2000 Nijinsky Special Prize, Monaco The Dorothy and Lillian Gish Prize, New York NY Named a "Living Legend" by the Library of Congress, Washington DC 1999 Premio Internazionale "Gino Tani, " Rome Handel Medallion from the Mayor of New York City NY Isadora Duncan Dance Award for Lifetime Achievement, San Francisco CA Fellow of the Academy of Performing Arts, Hong Kong The key to the City of Montpellier, France 1998 Bagley Wright Fund Established Artists Award, Seattle WA 1997 Barnard College Medal of Distinction, New York NY Grand Prix of the Société des Auteurs et Compositeurs Dramatiques, France 1996 Nellie Cornish Arts Achievement Award from his alma mater, Cornish College of the Arts, Seattle WA 1995 Honorary degree from Wesleyan University, Middletown CT Carina Ari Award (Grand Prix Video Danse with Elliot Caplan), Stockholm, Sweden Golden Lion of the Venice Biennale, Italy 1993 Inducted into the National Museum of Dance's Mr. & Mrs. Cornelius Vanderbilt Whitney Hall of Fame in Saratoga Springs, NY Dance and Performance Award for Best Performance by a Visiting Artist, London, England Medal of Honor from the Universidad Complutense of Madrid, Spain (With John Cage, posthumously) the Wexner Prize of the Wexner Center for the Arts at Ohio State University, Columbus OH New York Dance and Performance Award ("Bessie"), New York NY Tiffany Award from the International Society of Performing Arts Administrators, New York NY 1990 National Medal of Arts, Washington DC Porselli Prize, Italy Digital Dance Premier Award, London, England Award of Merit from the Association of Performing Arts Presenters, New York NY 1989 Chevalier of the Légion d'Honneur, France 1988 Dance/USA National Honor, New York NY 1987 Algur H. Meadows Award for Excellence in the Arts, Southern Methodist University, Dallas TX 1985 Laurence Olivier Award for Best New Dance Production (Pictures), London, England Kennedy Center Honors, Washington DC MacArthur Fellowship from the John D. and Catherine T. MacArthur Foundation, Chicago IL 1984 Inducted as an Honorary Member into the American Academy and Institute of Arts and Letters, New York NY 1983 The Mayor of New York's Award of Honor for Arts and Culture, New York NY 1982 The Samuel H. Scripps/American Dance Festival Award, Durham NC Commandeur de l'Ordre des Arts et des Lettres, France 1977 Capezio Award, New York NY 1975 New York State Award, Albany NY 1972 BITEF Award, Belgrade, Yugoslavia Honorary degree from the University of Illinois, Champaign/Urbana IL 1966 Gold Medal for Choreographic Invention at the Fourth International Festival of Dance, Paris 1964 Medal of the Society for the Advancement of Dancing in Sweden, Stockholm 1960 Dance Magazine Award, New York NY 1959 & 1954 Fellowships from the John Simon Guggenheim Memorial Foundation, New York NY Footnotes [ edit] ^ "Merce Cunningham obituary". Telegraph (UK). July 27, 2009. Retrieved 2010-01-26. Merce Cunningham who died on July 26 aged 90, was a 20th-century choreographer; his career in dance, which lasted more than 60 years, began when, as a Seattle-based dance student in 1939, he was invited by Martha Graham to join her company in New York ^ "Merce Cunningham Dance Company". Archived from the original on 2009-07-13. Retrieved 2010-01-26 {{inconsistent citations}} ^ "Legacy Plan". Cunningham Dance Foundation. Retrieved 2010-01-26 {{inconsistent citations}} ^ "Cunningham, Merce (1919-2009), Choreographer". Retrieved 2014-09-26. ^ Merce Cunningham. Cunningham Dance Foundation, 1980. VAST: Academic Video Online. Alexander Street Press. Accessed 27 June 2015. ^ Interview with Merce Cunningham. MacNeil-Lehrer Productions, 1999. Dance in Video: Volume II. Accessed 27 June 2015. ^ "Merce Cunningham". 2013. Retrieved 2013-03-13. ^ Kaufman, Susan (30 August 2012). "John Cage, with Merce Cunningham, revolutionised music, too". Washington Post. Retrieved 28 June 2015. ^ Vaughan, David (July 27, 2009). "Merce Cunningham". The Guardian. London. Retrieved May 12, 2010. ^ "Entertainment | Arts & Culture | Dance great Cunningham dies at 90". BBC News. 2009-07-28. Retrieved 2012-11-18. ^ a b "History". Merce Cunningham Trust. Retrieved 28 June 2015. ^ Macauley, Alistair (23 March 2008). "aryshnikov's Artistry, Behind the Camera". The New York Times. Retrieved 28 June 2015. ^ Village Voice, Deborah Jowitt, Wednesday, September 7, 2011. ^ Macaulay, Alastair (2011-12-30). "Merce Cunningham Dance Company at Park Avenue Armory". ISSN   0362-4331. Retrieved 2019-01-14. ^ "Merce Cunningham". Retrieved 28 June 2015. ^ Vadukul, Alex (April 20, 2009). "Sonic Youth, John Paul Jones Give Merce Cunningham's Dance Show a Fierce Soundtrack". Rolling Stone. Retrieved 31 January 2012. ^ a b c d Au, Susan. Ballet and Modern Dance. ^ Johnston, Jill (1996). Jasper Johns: Privileged Information. New York: Thames and Hudson. ISBN   0500017360. Quoted in Glueck, Grace (9 Feb 1997). "Hiding Behind the Flag". The New York Times Book Review. Retrieved 29 June 2015. ^ Au, Susan. Ballet and Modern Dance. Thames & Hudson. p. 156. ISBN   978-0-500-20352-1. ^ Au, Susan. Ballet and Modern Dance (2nd ed. ). ISBN   978-0-500-20352-1. ^ Mondays with Merce ^ Au, Susan (2012). London, England: Thames & Hudson world of art. ISBN   978-0-500-20411-5. ^ Daniel J. Wakin (June 9, 2009), Merce Cunningham Sets Plan for His Dance Legacy New York Times. ^ "Sutton's Law: A Final Goodbye". 2012-03-18. Retrieved 2012-11-18. ^ "Merce Cunningham Dance Company – Biography". 2009. Archived from the original on 2006-10-01. Retrieved 2009-07-28. ^ "Robert Rauschenberg", Wikipedia, 2019-01-08, retrieved 2019-01-14 Sources [ edit] Bredow, Moritz von. 2012. "Rebellische Pianistin. Das Leben der Grete Sultan zwischen Berlin und New York. " (Biography, 368 pp, in German). Schott Music, Mainz, Germany. ISBN   978-3-7957-0800-9 (Biography on pianist Grete Sultan, John Cages's and Merce Cunningham's close friend. Many aspects regarding Cage and Cunningham! ) Bremser, M. (Ed) (1999), Fifty Contemporary Choreographers. Routledge. ISBN   0-415-10364-9 Cunningham, Merce (1968), Changes/Notes on Choreography. Something Else Press. Cunningham, M. and Lesschaeve, J. (1992), The Dancer and the Dance. Marion Boyars Publishers. ISBN   0-7145-2931-1 Vaughan, David (1999), Merce Cunningham: Fifty Years. Aperture. ISBN   0-89381-863-1 Vaughan, D. and Cunningham, M. (2002), Other Animals. ISBN   978-0-89381-946-0 Kostelanetz, R. (1998), Merce Cunningham: Dancing in Space and Time. Da Capo Press. ISBN   0-306-80877-3 Brown, Carolyn (2007), Chance and Circumstance Twenty Years with Cage and Cunningham. Alfred A. Knopf. ISBN   978-0-394-40191-1 Biography 53750 External links [ edit] Merce Cunningham Trust Merce Cunningham Dance Company Archival footage of the Merce Cunningham Dance Company performing in Sounddance in 2009 at Jacob's Pillow. DLAR Artists bio PBS:American Masters biography Kennedy Center biography Archive footage of the Merce Cunningham Dance Company performing Cunningham's piece Banjo in 1955 at Jacob's Pillow American Ballet Theater biography Merce Cunningham Film & Video at Electronic Arts Intermix Merce Cunningham ìn the Mediateca Media Art Space Merce Cunningham on IMDb Merce Cunningham — Daily Telegraph obituary Guardian Obituary Obituary in the Star-Gazette New York Times Obituary 28 July 2009.

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ME ENCAAANTAAAAA 🥺👌🏻👌🏻👌🏻👌🏻✨✨✨✨. Where the hell is this dude,I need him now,I can probably ask like a friend to do this or try it by myself first. quick question:Can you fix a shoulder dislocation by yourself. Cunningham and nelson funeral home. Cunningham elko nv. Movies Review Review Interpretation of the news based on evidence, including data, as well as anticipating how events might unfold based on past events Merce Cunningham is profiled on the documentary “Cunningham. ” (Robert Rutledge/Magnolia Pictures) Rating: (2. 5 stars) In a new documentary about Merce Cunningham, filmmaker Alla Kovgan attempts a delicate dance. On the one hand, “Cunningham” stages many of the pioneering choreographer’s abstract works superbly, capturing the vision of an idiosyncratic artist. On the other hand, when it comes to exploring the man behind the art, the film’s execution feels out of step with its ambition. Cunningham blended the footwork of classical ballet with less traditional movements of the torso to craft a style often labeled as avant-garde, though he shied away from the label. Cunningham launched his career in the late 1930s and was active until his death, at 90, in 2009. The documentary tracks the rise of Cunningham’s New York-based dance company, focusing on dance pieces he created between 1942 and 1972. Peppered throughout the documentary, these sequences feature a fusion of virtuosic choreography, remarkable athleticism and polished filmmaking. (The film’s preferred format is 3-D, though the visuals are still impressive in the 2-D print that will be shown at Landmark’s E Street Cinema. ) By setting the expressive dances in surprising locales — including a lush forest of towering trees, a cobblestone town square and a fluorescent-lit tunnel — Kovgan accentuates the seemingly limitless possibilities of Cunningham’s aesthetic, with visual grandeur. Some dances are presented without music: Accompanied only by the rhythmic patter of footsteps, the camera gracefully glides through long, uninterrupted shots. Kovgan, a Russian filmmaker making her solo feature debut, also creates a sense of scale, using striking aerial footage of dancers performing on a seaside rooftop. In the film’s most memorable number, Kovgan re-creates “RainForest” — a 1968 collaboration with Andy Warhol in which dancers in tattered costumes weave between sleek, silver balloons. Dancers perform a piece by choreographer Merce Cunningham on a seaside rooftop in the documentary “Cunningham. ” (Magnolia Pictures) So what do we learn about the mastermind behind such innovation? Using rehearsal and interview footage, the film presents Cunningham as a difficult genius, less interested in commercial success than pure artistic expression. To compensate for the smaller aspect ratio of the archival footage, Kovgan cleverly fills in the frame with photographs and letters from Cunningham’s life, at times throwing multiple clips on screen simultaneously, and playing them side by side. These elements lend the film the appealing aesthetic of a scrapbook. But the tracking of Cunningham’s career is disappointingly scattershot, barely scratching the surface of the man outside the dance studio. Complicated relationships with collaborators — including composer John Cage, Cunningham’s longtime romantic partner — are mentioned, but not explored in a substantial way. The decision to limit the scope of the documentary to Cunningham’s heyday means we learn little about the roots of his artistry, or the endurance of his legacy. That’s not to say that “Cunningham” even aspires to paint the definitive picture of its subject. What we get, however, isn’t so much a cohesive narrative as it is set pieces, held together by a thin framing device. For a film of such visual audacity, the lack of storytelling depth is frustrating. In Kovgan’s defense, Cunningham may have been too enigmatic to probe with complexity. He had a reputation for being cold and distant, as the movie notes, and his reluctance to explain his art is well documented. “I don’t describe it, ” he says at one point, “I do it. ” Like the man himself, “Cunningham” takes that mantra to heart — for better and for worse. Thomas Floyd Thomas Floyd is a sports multiplatform editor and contributing arts writer for The Washington Post. His work has been honored by the Society for Features Journalism, Society of Professional Journalists, American Copy Editors Society and National Arts & Entertainment Journalism Awards. Follow.

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