Jupiter Artland is an award-winning contemporary sculpture garden located just outside Edinburgh. Founded in 2009 by philanthropist art collectors Robert and Nicky Wilson, Jupiter Artland has grown into one of Scotland’s most signifi cant arts organisations and was nominated for ArtFund’s Museum of the Year in 2016. Set over 100 acres of meadow, woodland and fi ve indoor gallery spaces, Jupiter Artland is home to 35 permanent site-specifi c sculptures from artists including Phyllida Trisha Brown: Barlow, Charles Jencks, Anish Kapoor, Cornelia Parker and Antony Gormley, as well as a seasonal programme of exhibitions and events. Through its learning and outreach programme, Jupiter Artland aims to engage with every child in Scotland, by off ering free school visits throughout the year. Highlights of Jupiter’s 2019 programme include the opening of a swimming pool by Joana Vasconcelos, In Plain Site a retrospective exhibition of New York choreographer Trisha Brown and Jupiter Rising, a two-day festival of art, performance and music in August.

9 – 11 August 8.00pm 10 – 11 August 5pm

Trisha Brown Jupiter artland

Dance Company The performance lasts approximately 1 hour 30 minutes with no interval

Please ensure that all mobile phones and electronic devices are switched off , or put on silent. Trisha Brown: In Plain Site

Trisha Brown Dance Company

context for the work that is seen on stage. Choreography Trisha Brown The Archive also provides reference assistance to staff members, students Performers Oluwadamilare Ayorinde and researchers and facilitates requests Cecily Campbell for exhibition materials from a variety Marc Crousillat of cultural institutions. The Archive Kimberly Fulmer recently collaborated on three major Leah Ives exhibits on Robert Rauschenberg: Robert Amanda Kmett’Pendry Rauschenberg at the Tate Modern, Robert Kyle Marshall Rauschenberg: Among Friends at MOMA, Patrick McGrath and Robert Rauschenberg: Erasing the Jacob Storer Rules at SF MOMA.

Associate Artistic Director Carolyn Lucas Executive Director Barbara Duft y Company Manager Anne Dechêne Production Stage Manager Betsy Ayer

Stage Manager Leigh’Ann Andrews

International Représentation Thérèse Barbanel Les Artscéniques International Représentation Colette de Turville Exclusive Representation in North America Elsie Management Laura Colby, Director

This engagement is supported by Mid Atlantic Arts Foundation through US Artists International in partnership with the National Endowment for the Arts and the Andrew W. Mellon Foundation. Trisha Brown Dance Company Another Story as in Falling (excerpt), 1993 Accumulation, 1971 Music: Alvin Curran Length: 5 minutes Length: 15 minutes Sound: The Grateful Dead, Uncle John’s Band ‘The Story dances share a very long phrase This witty and now-legendary dance is based that is born of an imaginary character, Little on the simple device of adding one gesture Man, who is rather bland, a steady worker, to another, one at a time, and repeating the and never gets riled. He has a special walk, growing phrase with each new movement. Trisha Brown Dance Company (TBDC) is The Company’s Education and carefully delineated gestures, and takes his a post-modern dance company dedicated Outreach program includes worldwide time. Together the eight ‘little people’ of the Floor of the Forest, 1970 to the performance and preservation of workshops, master classes and company arrive on the set one at a time or in Length: 15-20 minutes the work of Founding Artistic Director lecture demonstrations. Licenses of clusters to form a community of like types, No sound and Choreographer, Trisha Brown. selected works are given to carefully who move in and out of the set in unison or This is performed in a twelve-foot by Established in 1970, TBDC has toured chosen educational institutions and not as they improvise their way through very fourteen-foot pipe frame across which are tied throughout the world presenting the professional companies worldwide and low-keyed private adventures with others.’ – ropes densely threaded with clothes – sleeves work, teaching and building relationships works are regularly restaged on dance Trisha Brown are woven beneath pant legs forming a solid with audiences and artists alike. students and professional companies. rectangular surface. The audience is free to Recent licensing and restaging projects Figure 8, 1974 move around in the periphery of the grid as Brown engaged collaborators who are include Lyon Opera Ballet, Stephen Length: 2 minutes the performers dress and undress their way themselves leaders in music, theater and Petronio Company, Paris Opera Ballet, Sound: metronome through this structure. A normally vertical the visual arts, including visual artists Candoco Dance Company (London), 'Spatial arrangement: a row, like stewardesses activity performed horizontally and reshaped Robert Rauschenberg, Donald Judd, and London Contemporary Dance School, demonstrating safety measures on an by the vertical pull of gravity. Elizabeth Murray and musicians Laurie Mills College, University of Washington airplane. Eyes closed. Right arm arcs from Anderson, John Cage, and Alvin Curran, Seattle, University of Wisconsin the side of the body to the top of the head and Raft Piece, 1973 to name a few. With these partners, Milwaukee, and Yale University. back again, marking, enlarging time patterns, Length: 15 minutes Brown created an exceptionally varied while the left arm arcs from the side of the No sound body of work, with premieres and In 2009, TBDC created the Trisha Brown body to the top of the head in diminishing time Raft Piece is a variation of Group Primary performances for NYC audiences and Archive. The collection features close to patterns.' – Trisha Brown Accumulation performed on fl oating raft s in international counterparts. 3,000 moving image materials including a body of water. Done in silence, four dancers, master performance footage of over 90 Locus, 1975 placed on individual raft s, perform the piece in When Brown retired as head of her original works as well as “building tapes” Length: 8 minutes unison and generate a series of accumulating Company in 2013, the Board appointed – videos made while Brown created No sound gestures. The fi gures rotate 45 degrees each on longtime Company members Diane these works. The Archive also holds The score for Locus is a random ordering the last two moves, making a 90-degree turn Madden and Carolyn Lucas as Associate signifi cant items such as photos, press, of 27 points on a cube of space immediately with the completion of the phrase. The phrase Artistic Directors with the mandate that programs as well as audio material, surrounding the standing fi gure. There is repeated until, in the last two minutes, a they present her dances in a variety of musical scores, sets and costumes are four sections, each utilising the same 360-degree turn is achieved and all sides of the spaces, indoors and out, proscenium and from Brown’s collaboration with some sequence of points. The dance has no front dance and the dancers are revealed. alternative; develop, deepen and expand of the preeminent artists of the era. and can revolve. the Company’s educational initiatives; Archival material is used during the and treat the Company’s archive as a Company’s rehearsal processes and living organism to be used to better integrated into TBDC’s performance understand her work, in particular, and engagements to create a historical dance in general. Trisha Brown 1936-2017

A major turning point in Brown’s career Today the Trisha Brown Dance Company occurred in 1979, when she transitioned continues to perpetuate Brown’s legacy One of the most acclaimed and from working in non-traditional and through its Trisha Brown: In Plain Site infl uential choreographers and dancers art world settings to assume the role of initiative. Through it, the company draws of her time, Trisha Brown’s (1936-2017) a choreographer working within the on Brown’s model for reinvigorating groundbreaking work forever changed institutional framework associated with her choreography through its re-siting the landscape of art. From her roots dancing – the proscenium stage. in relation to new contexts that include in rural Aberdeen, Washington, her outdoor sites, and museum settings and birthplace, Brown arrived in New York In her lifetime Trisha Brown was the collections. The company is also involved in 1961. A student of Anna Halprin, recipient of nearly every award available in an ongoing process of reconstructing Brown participated in the choreographic to contemporary choreographers. The and remounting major works that composition workshops taught by fi rst woman to receive the coveted Brown created for the proscenium stage Robert Dunn – from which Judson Dance MacArthur ‘Genius’ Grant (in 1991), between 1979 and 2011. In addition, Theater was born – greatly contributing Brown was honored by fi ve fellowships the company continues its work to to the fervent of interdisciplinary from the National Endowment for the consolidate Trisha Brown’s artistic creativity that defi ned 1960s New York. Arts; two John Simon Guggenheim legacy through their management of her Fellowships; and Brandeis University’s archives, which record her meticulous With the founding of the Trisha Brown Creative Arts Medal in Dance (1982). creative process over many decades. Dance Company in 1970, Brown set In 1988, she was named Chevalier off on her own distinctive path of dans l’Ordre des Arts et Lettres by the Susan Rosenberg, Consulting artistic investigation and ceaseless government of France. In 1999, she Historical Scholar, Trisha Brown experimentation, which extended for received the New York State Governor’s Dance Company forty years. The creator of over 100 Arts Award and, in 2003, was honored choreographies, six operas, and a graphic with the National Medal of Arts. She artist, whose drawings have earned has received numerous honorary recognition in numerous museum doctorates, is an Honorary Member exhibitions and collections, Brown’s of the American Academy of Arts and earliest works took impetus from the Letters, and was awarded the 2011 New cityscape of downtown SoHo, where she York Dance and Performance ‘Bessie’ was a pioneering settler. In the 1970s, Lifetime Achievement Award. In 2011, as Brown strove to invent an original Brown received the prestigious Dorothy abstract movement language – one of and Lillian Gish Prize for making an her singular achievements – it was art “outstanding contribution to the beauty galleries, museums and international of the world and to mankind’s enjoyment exhibitions that provided her work its and understanding of life.” most important presentation context.