{"id":1528,"date":"2019-07-12T16:48:29","date_gmt":"2019-07-12T20:48:29","guid":{"rendered":"http:\/\/resources.culturalheritage.org\/emg-review\/?page_id=1528"},"modified":"2019-07-12T16:48:29","modified_gmt":"2019-07-12T20:48:29","slug":"brand","status":"publish","type":"page","link":"https:\/\/resources.culturalheritage.org\/emg-review\/volume-5-2017-2018\/brand\/","title":{"rendered":"Collaboration in The Aesthetic Zone: Trisha Brown And Robert Rauschenberg"},"content":{"rendered":"\n

Bill Brand, Shu-Wen Lin, Cori Olinghouse, and Francine Snyder
The Electronic Media Review, Volume Five: 2017-2018<\/em><\/p>\n\n\n\n

ABSTRACT<\/h2>\n\n\n\n

Set and Reset<\/em>\nis a masterpiece of American postmodern dance, establishing Trisha Brown\u2019s role\nas a seminal choreographer working within abstraction. The performance, a\ncollaborative project between Trisha Brown (1936-2017) (choreography), Laurie\nAnderson (b. 1947) (music), and Robert Rauschenberg (1925-2008) (set and\ncostumes), made its US debut in 1983 at the Brooklyn Academy of Music, New\nYork. To assure the longevity of Set and\nReset<\/em>, preserving the set\u2019s film elements has become a collaborative effort\nbetween two of the artists\u2019 estates, demonstrating a new preservation strategy\nfor the exchange of information, histories, funding, storage, and clarifica\u00adtion\nof rights.<\/p>\n\n\n\n

Since\nits inception, the Trisha Brown Dance Company has frequently toured Set and Reset<\/em> domestically and\ninternationally, including a major performance this past spring 2017 as part of\nthe Robert Rauschenberg<\/em> exhibition at\nTate Modern, London. Prior to London, the performance continually used\nRauschenberg\u2019s original set, which he entitled Elastic Carrier (Shiner)<\/em> despite the entire performance being named\nSet and Reset<\/em>. The set consisted of a\nfreestanding multi-pyramid structure onto which montaged archival footage from six\nreels of films is projected. <\/p>\n\n\n\n

Recognizing\nthat the film elements were deteriorating from years of continued use, the Trisha\nBrown Dance Company (TBDC) applied without success for several grants to\npreserve the films. The project was \u201cset and reset\u201d a few times until fall 2016\nwhen TBDC joined with the Rauschenberg Foundation and work proceeded with BB\nOptics and indepen\u00addent media conservator, Shu-Wen Lin. The result of this\nproject debuted at the performance in London in 2017. <\/p>\n\n\n\n

Throughout\nthe preservation project, we endeavored to track and document the reasoning\nbehind the unavoidable changes between the 1983 and 2017 presentations. Given\nthe collab\u00adorative nature, we carefully addressed the following issues: who is\nresponsible for preserving a moving image work that is part of a performance?\nIs Elastic Carrier (Shiner)<\/em> an\nindependent work, or may it only exist as an element of the dance? What are the\nimpli\u00adcations of migrating a moving image work in performance from film to\ndigital projection? <\/p>\n\n\n\n

This\npanel aims to share the continuing conversation among estates and foundations,\nand to shed light on issues and principles surrounding the preservation of\nmoving images in performative artworks.<\/p>\n\n\n\n

Shu-Wen Lin
Lunder Conservation Fellow in Time-Based Media
Smithsonian American Art Museum<\/p>\n\n\n\n

Bill Brand
Adjunct Professor
Moving Image Archiving and Preservation
New York University<\/p>\n\n\n\n

Cori Olinghouse
Archive Director
Trisha Brown Dance Company<\/p>\n\n\n\n

Francine Snyder
Director of Archives and Scholarship
Robert Rauschenberg Foundation<\/p>\n","protected":false},"excerpt":{"rendered":"

Bill Brand, Shu-Wen Lin, Cori Olinghouse, and Francine Snyder The Electronic Media Review, Volume Five: 2017-2018 ABSTRACT Set and Reset is a masterpiece of American postmodern dance, establishing Trisha Brown\u2019s role as a seminal choreographer working within abstraction. The performance, a collaborative project between Trisha Brown (1936-2017) (choreography), Laurie Anderson (b. 1947) (music), and Robert … Continue reading “Collaboration in The Aesthetic Zone: Trisha Brown And Robert Rauschenberg”<\/span><\/a><\/p>\n","protected":false},"author":37,"featured_media":0,"parent":618,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1528","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/pages\/1528","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/users\/37"}],"replies":[{"embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/comments?post=1528"}],"version-history":[{"count":0,"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/pages\/1528\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/pages\/618"}],"wp:attachment":[{"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/media?parent=1528"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}