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.
June 23-25, 2016 ADI/NYC Premiere
“One of the most significant choreographers today.”
-The New York Times
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.
“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