Photo by … Barcelona-based architect Benedetta Tagliabue, Merce Cunningham in conversation with John Rockwell, Seattle Central Library: Civic Architecture in the Age of Media, Carolyn Brown, Merce Cunningham, Laura Diane Kuhn, Joseph V. ?Melillo, Thecla Schiphorst, and  David Vaughan, “Four Key Discoveries: Merce Cunningham Dance Company at Fifty,” in, Roger Copeland, “Merce and the Aesthetics of Collage,”. Written in Times New Roman font with 1.5 Cunningham identified these experimentations with computer technology, along with possibilities afforded by working with film and camera, as the third and fourth key discoveries. On innovative collaborations... JR: “Variations V (1965) was an enormously risky mixed-media work in which Cunningham embraced technology he had not tried and which had not yet been proven. The career of Merce Cunningham (born 1919 in Centralia, Washington; died 2009 in New York City) was notable not only for its major achievement in contemporary dance but also for its many strong collaborations with major artists, designers and composers. [LA MOCA’s] Stages of Performance proposed the development of a more direct interaction between the individual artists from each discipline … to create a performance that enabled the audience to see the underlying forms of each individual’s work, in the context of a completely integral artwork.” 9, Available Light exemplifies both continuity with and divergence from the Cunningham model. Over the course of his nearly 70-year career, Merce Cunningham (1919–2009) redefined the visual and performing arts through pioneering collaborations with leading artists, designers, and musicians. [Photo by Michael Moran]. Top: La Cite Radieuse, choreography by Frédéric Flamand, set design by Dominique Perrault. Alongside these choreographers, Rauschenberg approached dance and its visual components as opportunities to challenge the Chalabi’s project statement explicitly references Leibniz as well as the then-resurgent interest in architecture in the fold, interiority and exteriority, and continuous surfaces that pass through gendered concavities and convexities. Cunningham's collaborative method, developed after several years of sharing programs and shaping dance and music pieces with John Cage and Robert Rauschenberg, inspired countless other collaborations, including Available Light (1983), a performance that united composer John Adams, architect Frank Gehry, and choreographer Lucinda Childs. As a complement and counterpoint to these seven Cunningham collaborations, the exhibition documents seven collaborations between younger choreographers and various architects, showing highlights of what I would argue is a real if not always recognized architectural “type.” More to the point, these other works reveal diverse approaches to content and multiple methods of collaborating in space and time. Merce Cunningham was a dancer and choreographer known for his long-time collaboration with avant-garde composer John Cage. Review 1: The three dances documented here offer glimpses into the fruitful collaboration between Merce Cunningham and Robert Rauschenberg, and also John Cage, three formidable American artists in their respective fields of dance, visual art and music. Engage with Us. Frédéric Flamand’s choreographies also explore the potential of their architectural contexts, emerging very much in dialogue with his architect partners, so that the themes permeate the dance, stage setting, lighting, projections and costumes. Many would argue that using, say, the I Ching to design complex contemporary architectural works would be improbable, yet the essence of Cunningham and Cage’s collaborative methodology, developed in the 1950s, seems remarkably contemporary in its proto-parametric logic and its embrace of complexity and simultaneity. Great essay! “Unlike Wagner’s Gesamtkunstwerk, which exemplifies a hunger for wholeness, collage appeals to an age that has come to distrust claims of closure, ‘unity,’ and fixed boundaries.” 7, Top: Minutiae, with sets by Robert Rauschenberg. collaborations with three icons of postwar American modern dance—Paul Taylor, Merce Cunningham, and Trisha Brown—with whom he would design sets, costumes, and lighting, compose music, and perform. (This was what happened with Cunningham and most partners). "Signals from the West: Bay Area Artists in Conversation with Merce Cunningham at 100" was a bicoastal collaboration with the Merce Cunningham Trust, ODC Theater and SFMOMA’s Open Space as part of the international celebration of the Cunningham centennial. She is an Assistant Professor of Architecture at the University of Arizona. A trip to a special economic zone in South Korea dedicated to books — and high-style architecture — now being remade for the digital era. Merce Cunningham and Robert Rauschenberg: A cunning duo REVIEW: A new Walker Art Center show celebrates a decade-long collaboration between dancer Merce Cunningham and artist Robert Rauschenberg. Reflecting on the legacy of artist Oskar Schlemmer at the Bauhaus in the 1920s, of Cunningham and his collaborators and also of the tradition of dance experimentation at Judson Church in Greenwich Village, Lazar pointed out that  “… in none of these examples … did the architect actually work with the choreographer to influence the shape of the dance. The I Ching, the Chinese Book of Changes, had been published … chance was a way of working which opened up possibilities in dance that I might otherwise have thought impossible.” 4 As dance critic John Rockwell describes it, “Cunningham used chance methods to decide how to sequence choreographic phrases, how many dancers would perform at any given point, where they would stand on stage, and where they would enter and exit.” 5 One of his chance methods was, in fact, to toss coins or roll dice to determine crucial aspects of a performance, as he did, for instance, in Split Sides (2003). In 1997 choreographer Merce Cunningham invited fashion designer Rei Kawakubo to work with him on a dance piece, the result was ‘Scenario’ which premiered in October of that year at the Brooklyn Academy of Music in New York. They collaborated on annual recitals in New York City and on a number of works, such as The Seasons (1947) and Inlets (1978). 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