Best known for her innovative choreography, which revolutionized Modern dance, Trisha Brown has for many years made drawings and other works beyond the stage that integrate the performing and visual arts. Drawing has long featured prominently in her practice, shifting from a tool for schematic composition into a fully realized component of her broader investigation into the limits of her own body. Whether she is working within the frame of a sheet of paper, on the wall or on the stage, Brown delights in the play between structure and improvisation, between repetition and invention and between choice and chance. This volume, published to accompany an exhibition at the Walker Art Center, presents a broad survey of Brown's visual arts practice going back more than three decades. Featuring over 40 drawings, it includes essays by exhibition curator Peter Eleey and performing arts curator Philip Bither, as well as a specially-commissioned survey of Brown's drawing vocabulary contributed by the artist.

Trisha Brown: So That the Audience Does Not Know Whether I Have Stopped Dancing

Arts & Photography

Philip Bither

Trisha Brown

Drawing

Walker Art Center

Log 40 assembles a wide-ranging collection of thoughtful essays on some of the most urgent questions and debates in architecture today, bringing them into dialogue with those of architecture s recent past. The legacy and current status of architectural images are considered from radically different vantages, in Brett Steele s anecdotal discourse on Zaha Hadid s 1983 painting The World (89 Degrees), John May s exacting dissection of architecture after imaging, and Hana Gründler s exploration of the ethical implications of drawing borderlines. The issue features commentary by two contemporary architects on contemporary buildings: V. Mitch McEwen on David Adjaye s National Museum of African American History and Culture in Washington, DC, and Elisabetta Terragni on OMA s Fondazione Prada in Milan. Other highlights include an excerpt from Noah s Ark, the new collection of Hubert Damisch s singular writings on architecture; a lively response by Mark Foster Gage to Michael Meredith s recent Log essay on indifference; and a sampling of new domestic objects designed by architects. In this issue: Trisha Brown travels toward a wall, David Buege remembers Christopher Risher Jr., Hubert Damisch floats a theory of architecture, Cynthia Davidson reads Keith Krumwiede s Atlas, Cynthia Deng &amp; Elif Erez chase a tin can through Mexico City, Mark Foster Gage raises an objection to indifference, Hana Gründler limns the borders of ethics, Pablo Martínez Capdevila arbitrates the Radicals vs. Tendenza, John May processes images in real time, V. Mitch McEwen visits David Adjaye s NMAAHC, Matthew Soules appraises transhumanist vacancy, Brett Steele steps into Zaha Hadid s World, and Elisabetta Terragni reflects on the Fondazione Prada. Plus: Alfini, Besler &amp; Sons, Ania Jaworska, Jimenez Lai/Bureau Spectacular, MOS, Norman Kelley, Sam Jacob Studio, Thing Thing, and their wares. And observations on public art and preservation in Brooklyn . . .

Log 40

Hubert Damisch

JOHN MAY

Brett Steele

Norman Kelley

Jimenez Lai

Mark Foster Gage

Sam Jacob

V. Mitch McEwen

David Buege

Hana Gründler

Elisabetta Terragni

Ania Jaworska

Matthew Soules

Pablo Martínez Capdevila

Anyone Corporation

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Books by Trisha Brown