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it explores "artistic collaboration as a parallel activity which would fuse into an aleatoric whole at the moment of performance." (Nina Sundell: Rauschenberg/Performance) Also, for the first time, the Series includes actual performances and film showings.

The four-part Series will open 25 September (see Calendar section of Dialogue for details) with a lecture by Deborah Jowitt, Dance Critic for the Village Voice, who will give an overview of Modern to Post-Modern Dance - setting the stage for the following three events. 

On 29 September at the State Theatre (Playhouse Square), The Trisha Brown Dance Company will present the mid-west premiere of Set and Reset, with music by performance artist Laurie Anderson and sets and costumes by Robert Rauschenberg. In addition, the Company will perform Son of Gone Fishin' with sets by Donald Judd and an original score for computerized organ by Robert Ashley, as well as a third work (to be announced).

On 2 October, New York choreographer/filmmaker Elisabeth Ross will show 90 minutes of excerpts from films made by or seen through the eyes of choreographers spanning eight decades. Ms. Ross will demonstrate how the infinite possibilities of cinematography combine with choreography to create a new hybrid art form: Filmdance.

12 and 13 October will see the world premiere of Taking Measures created by choreographer Albert Reid in cooperation with composer Eugene O'Brien and painter/sculptor Paul Oberst. Taking Measures was especially commissioned for the Fall event and be presented in conjunction with several other works choreographed by Albert Reid such as Tango Tales, Tango Abstract and Vignettes. 

All three artists have Cleveland connections. Eugene O'Brien is Chairman of Composition Department at The Cleveland Institution of Music; Albert Reid, who began his dancing career with Alvin Nikolais and is currently an instructor with the Merce Cunningham Dance Company, divides his time between New York and Cleveland; and Paul Oberst, now living in Boston, worked for a number of years as Preparator/Resident Artist at The New Gallery of Contemporary Art. The performances will take place in the Metropolitan Theatre, on the campus of Cuyahoga Community College, at the conclusion of Albert Reid's six week residency in Cleveland.

The Fall 1984 Series is a joint project of the Center and The Cleveland Modern Dance Association, and is presented in collaboration with Cuyahoga Community College. It thus represents a prime example of collaboration, not only between participating artists, but also between three cultural institutions in Northeast Ohio, usually engaged in separate pursuits.

It should be noted that the project owes much to the early encouragement of numerous members of the Ohio Arts Council Staff. The project would not have become a reality had not The Cleveland Foundation, the National Endowment for the Arts. Sohio, the Fox Foundation and the Smaller Cultural Organizations Panel, Cuyahoga County joined the Ohio Arts Council in providing financial support for it. Cuyahoga Community College has donated facilities for the performance pieces.

Notes from Brinsley Tyrrell: Recent Large Drawings and Sculpture

The exhibition is composed of recent work, mostly created this summer (and not yet fully completed). It contains both new sculptures and drawings that continue my interest in nature and the wooded landscape combined with rich energetic surfaces.

The relief panels in the exhibition are both a continuation and development from the bronze reliefs in Waywood Walls commissioned by the Mildred Andrews Foundation for the John and Mil [[Break in text]][[Image]]Brinsley Tyrell, Colleen (provisional title), work in progress. Photo: Keven Olds.[[/Break in text]] dred Putnam Collection at Case Western Reserve University, Cleveland, studies for a large bronze commission for the State Office Building in Akron and a natural extension of my landscape drawings in pastel.

Although most of the sculpture in this exhibition is in white gypsum cement (hydrocal) it is not about the integrity of this material. It is about the relationship of surface to forms, the creation of an emotional response, and the suggesting of a story or fantasy.

All the sculptures are intended to be cast into bronze. Hydrocal while it is a beautiful working medium and has its own validity and character is here used in its traditional form as a holding and working material until the work is later translated to its final permanent bronze cast.

For the last few years my sculpture and drawings have been devoid of figures so the viewer is free to interact with or occupy the work, as I do when I walk in the woods around my studio.

In Coleen and The Tatooed Lady (provisional titles) the human figure has be-come a central part of the sculpture, which I believe radically changes the feel of the work.

My love of modeling the human figure in clay or wax has been with me since I first began sculpture but seldom found its way into or was compatible with the feeling I wished my art to convey.

In these sculptures however this barrier seems to have dissolved, and the presence of the figure becomes central to the meaning of the work!