Some of the exhibits, which remain in place through June 27, have an eerie resonance. For instance, Steven Caras took this turbulent photograph of Peter Martins about to be dismembered by furious bacchantes in Orpheus in 1982--just about the time Martins became co-ballet master in chief, was responsible for casting, and found himself being pulled every which way.
* In our feature on American Repertory Dance Company [July 1998, page 56], codirector Bonnie Oda Homsey was only shown heavily made up. Here she is, unadorned. Los Angeles can see ARDC in a program of modern classics at the Getty Center, March 12 and 13.
* Russian-born artists Alexander and Marina Royzman express their love of dance by creating authentically costumed, doll-like sculptures of noted dancers. A common motif is a large figure dominating a smaller one, as in this creation where a 27-inch papier-mache Old Graham manipulates a 13-inch porcelain Young Martha in Every Soul Is a Circus. The Royzmans came to New York City to open their MAR Studio in 1990. Over the holidays last winter, they exhibited at the Foxhall Gallery in Washington, D.C.
* The 92nd Street Y Harkness Dance Project offers New Yorkers a stumulating choice of varied fare this season, but the world premiere on March 2 of SlutForArt, the latest collaboration between choreographer Muna Tseng and all-round avant-garde master Ping Chong, should display the most use of multimedia.
Described as a "visual dance-theater piece," it pays tribute to Ms. Tseng's late brother, photographer Tseng Kwong Chi; photographs taken of him posed before a series of international landmarks will be projected as a backdrop for Ms. Tseng's solos, in which she plays herself as well as her brother. Accompaniment will be an "oral collage" of his writings provided by Mr. Chong. Jan Hartley has designed the projections. There will be three more performances of SlutForArt on March 4, 6, and 7.
* Bronx-born artist Olga Kitt returned to her great love of making pastel sketches of dancers two years ago after a long siege of illness and personal crises that would have defeated most people. Now in her seventieth year and recently listed in Who's Who of American Women, she is happily applying the lessons she learned from Hans Hofmann, among others, to catching the essence of dancers with New York City Ballet and American Ballet Theatre and--shown at right--Dancing in the Streets, at Wave Hill in Riverdale, in 1997.
|Printer friendly Cite/link Email Feedback|
|Date:||Mar 1, 1999|
|Previous Article:||BERIOSOVA AND DOKOUDOVSKY.|