If I am right to think this is the greatest creation of dance theater so far this century, we’re fortunate that FOUR QUARTETS will travel to other stages. I long to become more deeply acquainted with the many layers of its stage poetry. — Alastair Macaulay
In great demand and at the height of her powers, Pam Tanowitz creates work that bridges contemporary dance and ballet. Her FOUR QUARTETS—the most acclaimed dance work of the past two decades—is a collaboration with Brice Marden, who created the set images, and composer Kaija Saariaho.
The title refers to T. S. Eliot’s poetry cycle, which provided the inspiration and text for the work, read in performance by Kathleen Chalfant.
This weekend, CAP UCLA presents two performances of FOUR QUARTETS at Royce Hall. Dancers include Kara Chan, Jason Collins, Dylan Crossman, Christine Flores, ZacharyGonder, Lindsey Jones, Victor Lozano, Maile Okamura, and Melissa Toogood.
The scenic and lighting design is by Clifton Taylor, the costume design by Reid Bartelme and Harriet Jung, and the sound design by Jean-Baptiste Barriére. Saariaho’s music will be performed by The Knights.
In conjunction with Hauser & Wirth’s presentation of the work of Avery Singer at Frieze LosAngeles, the artist will join Hammer Museum curator Aram Moshayedi for a conversation “[exploring] Singer’s distinctive use of digital tools, including 3D modeling software, her deft engagement with established traditions of archival documentation, and her groundbreaking techniques that she uses to question the ways in which images and their distribution are increasingly informed by new media and technologies.”*
The most interesting thing for me now is to make sure that the planet is going in the right direction. I keep the words sky, water, earth, fire in my mind. Those are the elements, and that’s what my work has come to be about. That’s what I’m about… When I think about my painting and the political and the planet, it’s about the hope that it’s not too late and that people can still get together and in whatever small way make a difference that adds up. As far as physical strength and ability goes, I’m very weak, of course, because of my age, but I still can paint, I can still draw. And so that’s my contribution…
I enjoy life, and I feel I’ve been different people. I was a different person, for example, when I did these very sexy drawings and paintings of my body, looking at my body. [Laughs] It’s the truth. Sex was all I could think about…
When I used to go to my house in Taos, New Mexico, and go to watch tribal dances, they wouldn’t ask me if I was Indian; they would say, “What tribe are you?” I would say, “Venezuelan.’”And they’d say, “I’ve never heard of that one!”… Within myself, I felt that I was Indian. I felt that very much when I went to the dances, because the tribes had a complete attitude towards the earth, that it was alive. I remember asking why the dances in the winter were different from the summer dances. A lot of stomping went on in the summer. I asked a man about this once, and he said, “Because the earth is asleep, of course, in winter.” Instead of stomping, they drag the foot, so as not to wake the earth. It’s an attitude toward the planet as a living thing. — LuchitaHurtado*