Choreographer and performer Jennifer Monson is the founder of New York City-based iLAND: Interdisciplinary Laboratory for Art, Nature, and Dance. She is known for using choreography and movement as a way of discovering connections among environmental, philosophical and aesthetic approaches to understanding our surroundings. As artistic director of iLAND, she creates large-scale dance projects inspired by the phenomena of the natural and built environments. Her project BIRD BRAIN (2000–11) featured the theatrical work Flight of Mind and four migratory tours: Gray Whales, Ospreys, Ducks and Geese, and Northern Wheatears. Each tour followed the migrations of animals, offering performances, workshops and panel discussions on navigation, migration and conservation. Other notable projects include iMAP/Ridgewood Reservoir, a yearlong research and performance practice in an abandoned reservoir New York City, and the Mahomet Aquifer Project in Illinois. Through the ILAB residency program, Monson supports opportunities for movement-based artists, scientists, environmentalists and others to engage the public in events that build their understanding of New York’s urban environment. Her many awards include a Guggenheim Fellowship (2003), a Foundation for Contemporary Performance Art Fellowship (1998), National Endowment for the Arts Choreographer’s Fellowships (1989, 1992, 1993-95, 1995–97), and the New York Foundation for the Arts Fellowship (1989, 1998). Monson visited the Center in June 2013 for a day-long investigation into compositional forms and structures with local dance and music professionals.
Patricia Lent of Merce Cunningham Trust, an experienced restager, along with theater-maker Richard Schechner, video/installation artist Sharon Hayes, and UC Berkeley professor and moderator Shannon Jackson, here explores the difficulties of recreating works of performance, and how the terms used to describe such acts—restaging, reconstructing, reenacting—vary across disciplines.
Paula Marincola and Melissa Franklin reflect on a quarter-century of direct support to artists—how we got started, how the program has evolved, and what we’ve learned.
Established in 2004, Jazz Bridge is a hybrid nonprofit organization joining performance presentation with professional support services for regional jazz and blues artists.
Dance and choreographer Megan Bridge co-directs < fidget >, a platform for her collaborative work with composer, designer, and musicologist Peter Price.
This interactive panel discussion, part of Swarthmore’s Chopin Without Music, reveals new possibilities for contemporary theater and classical music to intersect in performance.
Philadelphia Baroque orchestra Tempesta di Mare received support for performances and modern-day premieres of mostly unpublished works by Johann Friedrich Fasch.
A number of Center-funded performances take the stage this spring.
Tina Morton (Pew Fellow, 2010) left a career as an X-ray technician to pursue documentary filmmaking.
James Mills is a visual artist and a 1998 Pew Fellow.
Bryn Mawr College presents an open studio lecture and demonstration with Trisha Brown Dance Company members, Pennsylvania Ballet dancers, and choreographer Stephen Petronio
Known for its high energy performances, Koresh Dance Company was founded in 1991 by Israeli-born choreographer Ronen Koresh.
“Dancing around the Bride* at the Philadelphia Museum of Art told “the story of five extraordinary artists and what happened to art and culture when their lives and work intersected,” said curator Carlos Basualdo.