Susan Marshall
Susan Marshall,
Jason Treuting,
Suzanne Bocanegra
June 23-25, 2016 ADI/NYC Premiere
“One of the most significant choreographers today.”
-The New York Times
    Choreographer Susan Marshall, composer Jason Treuting, and visual artist Suzanne Bocanegra perform live real time color experiments using line, light, movement, shape and sound. Inspired by Josef Albers’ 1963 masterpiece of color theory, Interaction of Color, Marshall, Treuting, and Bocanegra push into the internal logic and emotion of color utilizing improvisatory systems devised from the structure of Albers’s book, a primer for understanding color used by artists and art students all over the world. Using their own bodies, they explore the subjectivity and humanity of individual perception in relation to color and color history.

    CHROMATIC is made possible by grants from the National Endowment for the Arts, the O.P. and W.E. Edwards Foundation Arts Fund, the Fan Fox and Leslie R Samuels Foundation, and the Joseph & Joan Cullman Foundation for the Arts. CHROMATIC is supported by New Music USA, made possible by annual program support and/or endowment gifts from Mary Flagler Cary Charitable Trust, New York State Council on the Arts, Andrew W. Mellon Foundation, Baisley Powell Elebash Fund, and Gladys Krieble Delmas Foundation. CHROMATIC received creative and production support from the Princeton Atelier, Princeton University’s Lewis Center for the Arts, and Princeton University’s Office of the Dean of the Faculty. Additional support for Susan Marshall & Company comes from the New York State Council on the Arts, the New York City Department of Cultural Affairs, Stuart Coleman, Betsy and Richard Langberg, Marshall and Beverly Jones, the Harkness Foundation for Dance, Virginia and Timothy Millhiser, and the Bossak/Heilbron Charitable Foundation.

    Susan Marshall (Choreographer/Performer) is Artistic Director of New York City based Susan Marshall & Company. Since 1985, Marshall has created over 40 dances on her company, as well as works for the Lyon Opera Ballet, Frankfurt Ballet, and Mikhail Baryshnikov. Performing frequently in New York City at Brooklyn Academy of Music, New York Live Arts, The Kitchen, Baryshnikov Arts Center, and The Joyce Theater, the company also tours extensively in the United States and overseas, including appearances at the Spoleto Festival, Jacob’s Pillow, the Edinburgh International Festival, Vienna Tanz, and Pina Bausch’s Internationales Tanzfestival NRW. Marshall’s work is in the repertory of other dance companies, including Kiss at Pacific Northwest Ballet and Hubbard Street Dance Chicago, and Arms at Nederlands Dans Theatre. Other critically acclaimed works by Marshall include Cloudless, Fields of View, The Most Dangerous Room in the House, Sawdust Palace, and Spectators at an Event. Recipient of a 2000 MacArthur Fellowship, Marshall has received numerous other honors including three Bessies for Outstanding Choreographic Achievement, a Dance Magazine Award, a Guggenheim Fellowship, and an American Choreographer Award. In September 2009, Marshall was appointed Director of Dance at Princeton University’s Lewis Center for the Arts.

    Jason Treuting (Composer/Performer) enjoys making pieces that translate numbers and letters into patterns of sound. He makes most of his music with and for So Percussion. He has been called “genre-busting” by The New York Times and his music has been called “rich and engrossing” by Time Out New York. Treuting’s music has been played across the US in performing art centers like the Brooklyn Academy of Music, the Barbican Center, Lincoln Center, the Whitney Museum and the Kennedy Center as well as spots like Brooklyn’s Galapagos Art Space, the Stone, and universities across the country. Treuting has been commissioned by cellist Jeff Ziegler, Calder Quartet, janus trio, NOW Ensemble and the Orchestra of the League of Composers and has been featured as composer-in-residence at the Carlsbad Music Festival and the Canberra International Music Festival. His music is recorded on Cantaloupe Music and New Amsterdam Records. Treuting is currently a Lewis Center Fellow in the Arts at Princeton University and Co-Director of the Percussion Department at the Bard College Conservatory of Music.

    Suzanne Bocanegra (Visual Design/Performer) is an artist living and working in New York City. Her work has been seen in exhibitions in the United States and abroad, in such venues as the Serpentine Gallery, the Victoria and Albert Museum and the Hayward Gallery in London, the Armand Hammer Museum in Los Angeles and the Fabric Workshop in Philadelphia. A major show of Bocanegra’s work titled I Write the Songs opened at the Tang Museum in July 2010 and traveled to Site Santa Fe in 2011. Her lecture/performance When a Priest Marries a Witch,an Artist Lecture by Suzanne Bocanegra Starring Paul Lazar premiered at MoMA in 2010 and traveled to the Wexner Center, Performing Garage, James Cohan Gallery, and the Houston Museum of Fine Arts, among others. Little Dot, a twelve-hour sculpture with ballet dancers, opened Platform 2014 at NYC’s Danspace, performed by members of the New York Theater Ballet. The feature-length film of When a Priest Marries a Witch premiered in 2015 at the Henry Art Gallery in Seattle.

    Bocanegra’s most recent piece, Bodycast, an Artist Lecture by Suzanne Bocanegra Starring Frances McDormand, premiered at the Carnegie Museum in Pittsburgh and had its New York premiere as part of the Next Wave Festival at BAM in 2013, traveling to the Marfa Contemporary in 2015.

    A recipient of the Rome Prize, she has received grants from the Pollock-Krasner Foundation, Tiffany Foundation, Joan Mitchell Foundation, National Endowment for the Arts, New York Foundation for the Arts, and a Smithsonian Artist Research Grant.

    “One constant in Marshall’s career: She makes reality magical.” -Deborah Jowitt

    “Marshall is a fresh, original, powerful voice.” -The Boston Globe

    “One of the most significant choreographers today” -The New York Times

    “She doesn’t define virtuosity as that dazzle that reinforces the distinction between spectators and performers that she likes to blur.”
    -The Village Voice

    “Marshall loves not only human motion but the motion of objects.”
    -The Village Voice

    Photo credit: Peter Serling

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