The Trisha Brown Invasion.

Mar 31st, 2004

by Michael Overa

    The Trisha Brown Exhibit: Dance and Art in Dialogue, at the Henry Art gallery Seattle Washington.

    The Trisha Brown Company will be in residence at the University of Washington in Seattle during the month of May. The presence of the Company coincides with a exhibition (March 21-July 18) of artwork, installations, designs, and sculptures pertaining to, and related to the work of Trisha Brown from 1961-2001.

    Trisha Brown has invaded the Henry Art Gallery.

    Located on the border of the University of Washington campus the Henry Art Gallery is currently showcasing Dance and Art in Dialogue, an exhibition of artwork, installation, workshops, lectures, and the residency of the Trisha Brown Company.

    White steps lead down to the lower level of the Henry Art Gallery. Odd noise, almost music, fills the space at odd intervals. In the South Gallery giant black and white photos of the Trisha Brown Company in action give way to artwork, installations, and TV screens that cycle through various performances.

    In the Media Gallery Fujiko Nakaya's video installation plays. Smoke scrolls across the room, shimmering the projection of "Opal Loop/Cloud Installation #72503". There is no sound in the room, except for the rasping hum of the smoke machine. The sharp cedar smell of the smoke lays like incense. Along one wall is a small TV with headphones playing the original piece with Trisha Brown's commentary. Brown explains the original piece as a controlled improve, which was often as difficult to manage as Nakaya's creation: the video taped performance projected on a varying field of smoke.

    The entire exhibition is laid out perfectly, intermingling Art and Dance.
Mutually inspired paintings, projections, collages, and installations fill the space. In the main gallery costumes from Brown's piece Glacial Decoy hang from the ceiling, pale and diaphanous, accompanied by photographs of the original piece. Nearby is a TV playing the performed piece in a continuos loop.

    The bulk of the South Gallery is filled with the work of Robert Rauschenberg, Donald Judd, Nancy Graves, and Terry Winters; all of whom contributed sets and costumes to various pieces. Donald Judd's designs for the "Son of Gone Fishing" line one tall, white wall. In the middle of the Gallery are towering structures of spotlights which cast shadows in all directions. Sculptures sit on pedestals. Paintings and photographs hang on the walls.

    Paintings and prints, photographs, video, costumes. Collages. Installations. Crumpled metal sinks, twisted metal sculptures. And the thread that ties it all together: Trisha Brown.

    In one section of the gallery a rope grid intertwined with clothing. This is the set for "The Floor of the Forest" Brown's 1970 piece which includes dancers moving through the tangle of rope and clothing. The piece will be reproduced by students from the University of Washington and Cornish College of the arts between March 21 and July 18 (Thursdays at 6:15pm, Sundays at 2pm).

    Funded by the Boeing Company and supported by the University of Washington's Arts and Sciences Exchange Program, the Trisha Brown Company will spend the month of May in residence. From May 20 to May 22 the Trisha Brown Company will be performing as a part of the University's World Dance Series, located at nearby Meany Hall.

    (The Henry Art Gallery can be found online at: www.henryart.org;
    The Trisha Brown Dance Company can be found online at: www.trishabrowncompany.org)