Mikhail Baryshnikov - Dancing Away - ContiniArtUK

CONT IN IART UK

DANCINGAWAY

DANCINGAWAY

Mikhail Baryshnikov

BARYSHNIKOV ARTS CENTER (BAC) is the realization of a long-held vision by artistic director Mikhail Baryshnikov to

build an arts center in New York City that would serve as a gathering place for artists from all disciplines.

BAC’s opening in 2005 heralded the launch of this mission, establishing a creative laboratory and performance space

for artists from around the world. BAC’s activities encompass a thriving residency program augmented by a range

of professional services, including commissions of new work, as well as the presentation of performances by artists

at varying stages of their careers. In tandem with its commitment to supporting artists, BAC is dedicated to building

audiences for the arts by presenting contemporary, innovative work at affordable ticket prices.

www.bacnyc.org

© Mikhail Baryshnikov. All rights reserved.

© 2014 ContiniArt UK for the folio.

Paul Himmel’s photograph copyright © 1953 by Paul Himmel.

Reprinted with permission of McIntosh & Otis, Inc.

Alexey Brodovitch’s photograph from Alexey Brodovitch.

Ballet: 104 Photographs (New York, New York: J.J. Augustin, 1945).

Irving Penn’s photograph copyright © by the Irving Penn Foundation.

Folio concept and design by Vladimir Radunsky

Essay by Clement Crisp, dance critic for The Financial Times

Printing, mounting and framing by Laumont Studio, New York City

Mikhail Baryshnikov photo by Annie Leibovitz

Modern + Contemporary Art Gallery

105 New Bond Street

London, W1S 1DN England

www.continiartuk.com

Printed in Italy

CONT IN IART UK

This exhibition would not have been possible without the continual enthusiasm and support

of Stefano, Riccarda, Federico and Cristian Contini. The entire team at ContiniART UK has

been tremendous, especially Diego Giolitti.

In the making of this exhibition I deeply thank Vladimir Radunsky, Philippe Laumont,

Alison Bradshaw, Kate Kosek, and Huong Hoang for their attention to detail and quality.

Always, to my wonderful staff at Baryshnikov Arts Center.

And above all, my wife Lisa Rinehart and our family for their love, patience, and support.

Baryshnikov signature to come

Paul Himmel, Scene from Orpheus, 1953

Alexey Brodovich, Septieme Symphonie, 1945

Irving Penn, Alexandra Beller (QQ), New York, 1999

For two decades I used a conventional 35mm camera and practiced traditional landscapes,

portraits, and travel shots, primarily in black and white. I made a point of rejecting obvious

opportunities to photograph dance, thinking the results were boring and unnecessary.

Then, going through some old books of dance photography—notably Alexey Brodovitch’s

Ballet, and Paul Himmel’s 1954 Ballet in Action—I discovered that abandoning the crystalline

image in favor of blurred edges and amorphous figures approximates the excitement of dance

in performances. Ilse Bing’s mesmerizing images of CanCan dancers at the Moulin Rouge, as

well as her photos of Balanchine’s Errante, and perhaps most importantly, the recent images of

Alexandra Beller in Dancer by Irving Penn, were further evidence that the thrill of movement

can be captured without being destroyed. Edwin Denby, the late poet and influential dance

critic, described this process eloquently in the text accompanying Brodovitch’s photographs.

“…the blurred outline of the dancer, assimilated to the general dim effect, registers as a

metaphor of motion. Sometimes the misty shape that joins successive points through which the

dancer’s body has passed astonishes you by the clarity of its graphic design, and it illustrates

the plastic continuity of dancing. Here and there the contrast on a picture between blurred and

clear outlines draws your eye to the position of a still figure that on stage might have passed

unnoticed in the hubbub, but that in the photograph reveals its momentary pathos.”

So it was possible.

I am both humbled and honored by the opportunity to show my work at the ContiniArt UK Gallery.

Mikhail Baryshnikov

Here in the West, we first saw Mikhail Baryshnikov as a member of the Kirov (now Mariinsky)

Ballet company. A considerable reputation had preceded him – talk percolated out of Soviet-

era Leningrad about a young dancer of prodigious gifts – and the astonishing truth of this was

to be the bare fact of his dancing career in the West thereafter. A distinguishing quality of his

dancing then, and of all his performances in dance and theatre thereafter, was and remains

clarity of image which combined marvellous physical resource with an emotional and dramatic

potency. His performances spoke on several levels: of commanding grace and urgency; of clear

dramatic outline; of an intelligence that sought – and found – justification for movement on

terms both theatrical and questioning. If I mention these qualities it is because in everything

that I have seen Baryshnikov dance, from his earliest prodigies as an artist on the very brink

of greatness to the later, intellectually questioning roles of his mature performances, there is

a potent sense of his concern for a central image in what he does, for some defining flash of

insight – physical, emotional – that will fix a role, even a single movement, for the watching eye.

A dancer photographing dancers - and the dance - has the extraordinary advantage of knowing

how the movement “feels”, of sensing it still in his body, of understanding its effects, its

intentions, its shape, both in visual terms and in those of the body and the muscular effort and

discipline that is making it. He senses the elan ACUTE ON E , the surge of energy, knows its

sensory shape as a dancer and shows this shape to an audience, understanding its purpose

and validity. Baryshnikov moving, Baryshnikov understanding that movement in another

performer as he captures its image with his camera, presents us with the idea of the camera

not merely as recording force but as player in that drama which is ever the relationship

between photographer and subject. There are secrets, reserves of feeling, dramas of

temperament, sheer damned tedium and exasperation, involved in making the camera record

dance. With Baryshnikov there is the fact of a most sophisticated eye behind the camera’s

lens, an eye that has seen and known decades of photographers in pursuit of his own physical

image, an eye that has accepted or rejected images of himself as true, revealing, honourable

in portraying a danced role, in recording something of himself as dancer, as theatrical artist,

as physical presence. Placed in exactly the reverse situation – as camera rather than subject

– Baryshnikov has brought that hard-earned awareness of the muscular, emotional, theatrical

BARYSHNIKOV PHOTOGRAPHS

Clement Crisp, September 2014

truth which a dancer hopes to give to his audience, to the making of his own photographic

records of dancers and dance-makers.

The choices he has made, the images he has sought – and found – have a double fascination

for us: as portrayals of dance created and selected by a dance artist of undeniable greatness

and achievement; and as contemplations, explorations, of dance that has held his imagination,

stimulated his wish to preserve them, engaged his undeniable gifts to explore their sense, their

mechanics, their emotional as well as their physical essence.

Photographs of dancers can tell you something about the performer – about a beautiful

physique, a ravishing face, even about the schooling that has prepared the artist for

performance – but about the dance itself…? Amid the historical torrent, the Niagara of dance

photographs, the image celebrates the performers’ physical appearance, even the vivid stretch

of limbs, but about the movement’s reality in time? Edgar Degas spoke of his paintings of

dancers (and he also photographed them in his last years) as a means of “rendering movement”.

As the camera became more sophisticated, so of course did its response to dance. Baron de

Meyer fixed Nijinsky’s theatrical presence for us so that we have some real sense of his artistry.

Strobe photography was later to produce images of dancing that caught, held, even contrived

to explain the mechanics and the exhilaration of a sequence of movement. The image of

the dancer was no longer of time stopped, limbs in frozen action in the ice of time, but of

something nearer a memory of a dancer in action, of Degas’ “rendering of movement”. (Harold

Egerton, fascinated by objects in micro-second existence, fixed something of the genius of

Alicia Markova in a strobe photograph which still tells truths about the artistry of this great

ballerina whom I adored.) Mikhail Baryshnikov, stimulated by the sense of motion (and

emotion) held in the photographs of such innovators as Alexey Brodovitch and Paul Himmel

with their blurred exposures and vastly evocative outlines, has seen how the life of the dance

can be found in the camera’s image. His dancing spoke superbly to us of dance movement.

And so, too, his photographs. We understand the body in action. And the action itself.

© Clement Crisp is the dance critic of The Financial Times

Born 1948 in Riga, Latvia, Mikhail Baryshnikov is considered one of the greatest dancers of our

time. After commencing a spectacular career with the Kirov Ballet in Leningrad, he came to the West

in 1974, settling in New York City as a principal dancer with American Ballet Theatre (ABT). In 1979 he

joined New York City Ballet, where he worked with George Balanchine and Jerome Robbins.

A year later he was appointed artistic director of ABT where, for the next decade, he encouraged a new

generation of dancers and choreographers. From 1990-2002, Mr. Baryshnikov was director and dancer

of the White Oak Dance Project, a touring company he co-founded with choreographer Mark Morris.

In 2005, he launched the Baryshnikov Arts Center (BAC) in New York City, a creative space for

presenting and nurturing multidisciplinary artists from around the globe. Under his leadership as

artistic director, BAC’s programs serve more than 700 artists and 22,000 audience members annually.

Among Mr. Baryshnikov’s many awards are the Kennedy Center Honors, the National Medal of Honor,

the Commonwealth Award, the Chubb Fellowship, the Jerome Robbins Award, and the 2012 Vilcek

Award. In 2010 he was given the rank of Officer of the French Legion of Honor.

Mr. Baryshnikov is an Academy Award-nominated actor, and a photographer whose work has been

exhibited in museums and galleries worldwide. His photographs have been featured in publications

such as Aperture and Vanity Fair, and published in several books, including Merce My Way (2008).

© Annie Leibovitz

Solo Exhibitions:

Dancing Away

November 28, 2014 – January 31, 2015: ContiniArt UK, London, England

Dance This Way

December 20, 2013 – April 21, 2014: Contini Galleria D’Arte, Cortina, Italy

December 21, 2013 – January 4, 2014: Space SBH, St. Barts. FWI

May 27-October 30, 2013: Contini Galleria D’Arte, Venice, Italy

October 24 – 27, 2012: Suzanne Dellal Centre, Tel Aviv, Israel

February 23 – March 23, 2012: Gary Nader Art Centre, Miami, Florida

Merce My Way

March 25 – May 18, 2009: St. Petersburg Russian Museum at the Stroganov Palace, St. Petersburg, Russia

June 20 – August 8, 2008: Martin Weinstein Gallery, Minneapolis, Minnesota

March 18 – May 4, 2008: 401 Projects Gallery, New York, NY

November 17, 2007 – January 31, 2008: Pobeda Gallery, Moscow, Russia

Dominican Moves

September 2 – October 10, 2008: Casa de Teatro, Santa Domingo, Dominican Republic

March 15 – April 30, 2008: Founders Gallery, Cap Cana, Dominican Republic

September 15 – November 2, 2007: J. Johnson Gallery, Jacksonville, Florida

August 3 – September 15, 2007: (Selected Works), C21 Museum, Louisville, Kentucky

March 1 – 31, 2007: Edwynn Houk Gallery, New York, NY

Moment In Time

March 1 – June 18, 2006: Latvian National Opera House, Riga, Latvia

December 6, 2005 – January 5, 2006: Pushkin State Museum of Fine Arts, Moscow, Russia

October 24 – November 24, 2005: Actor’s House, St. Petersburg, Russia and Museum of History of

Photography, St Petersburg, Russia

August 5 – 21, 2005: Festival del Sole, Teatro Signorelli, Cortona, Italy

July 2004: Metropolitan Opera House, New York, NY

May 2004: Gibbes Museum, Charleston, North Carolina

April 30–May 12, 2004: Movado SOHO Boutique, New York, NY

Group Exhibitions:

Unsuspected Photographers, Celebrities behind the Lens

November 21, 2007-January 6, 2008: Fundación Municipal de Cultura, Valladolid, Spain

September 8-October 5, 2007: Festival Internazionale di Fotografia in Cesano, Maderno, Milan, Italy

May 30-July 22, 2007: Sala de exposiciones de la Fundación Canal, Photo España Festival, Madrid Spain

Bibliography:

The New York Times, March 23 2008—“Baryshnikov’s Artistry, Behind the Camera,” by Alastair Macaulay.

New York Magazine, May 17, 2008 — “Mikhail Baryshnikov and Merce Cunningham Talk Dance

Photography,” ed. Dan Kois and Lane Brown.

ARTnews, May, 2007 – Dominican Moves exhibition review

“A Little Dance with a Digital Camera,” by Milton Esterow

Aperture No: 170, Spring 2003– Mikhail Baryshnikov, “Pointe and Shoot – an interview with

Mikhail Baryshnikov” by Melissa Harris

Untitled #1, 2006Night club dancer in the Dominican RepublicEdition 1/3Print size: 105.41 cm × 137.16 cm / 41.50” × 54.00”Frame size: 109.55 cm × 141.30 cm × 5.08 cm / 43.13” × 55.63” × 2”Archival Pigment Print on Canson Edition Etching Paper

Untitled #2, 2010Adrien Dantou in “Sarabande” by Benjamin MillepiedEdition 2/3Print size: 111.76 cm × 137.16 cm / 44.00” × 54.00”Frame size: 115.57 cm × 140.97 cm × 5.08 cm / 45.50” × 55.50” × 2”Archival Pigment Print on Canson Edition Etching Paper

Untitled #3, 2011Chen-Wei Lee of Batsheva Dance CompanyEdition 2/3Print size: 98.43 cm × 137.16 cm / 38.75” × 54.00”Frame size: 102.57 cm × 141.30 cm × 5.08 cm / 40.38” × 55.63” × 2”Archival Pigment Print on Canson Edition Etching Paper

Untitled #4, 2011Rebecca Hytting and Bobbi Smith of Batsheva Dance CompanyEdition AP 1/3Print size: 111.76 cm × 137.16 cm / 44.00” × 54.00”Frame size: 115.90 cm × 141.30 cm × 5.08 cm / 45.63” × 55.63” × 2”Archival Pigment Print on Canson Edition Etching Paper

Untitled #5, 2006Flamenco dancer in MadridEdition 2/3Print size: 111.45 cm × 137.16 cm / 43.88” × 54.00”Frame size: 115.57 cm × 141.30 cm × 5.08 cm / 45.50” × 55.63” × 2”Archival Pigment Print on Canson Edition Etching Paper

Untitled #6, 2008Alexandre Hammoudi in “Without” by Benjamin MillepiedEdition 2/3Print size: 111.76 cm × 137.16 cm / 44.00” × 54.00”Frame size: 115.57 cm × 140.97 cm × 5.08 cm / 45.05” × 55.50” × 2”Archival Pigment Print on Canson Edition Etching Paper

Untitled #7, 2008Merce Cunningham Dance Company in “eyeSpace” by Merce CunninghamEdition 3/3Print size: 111.76 cm × 137.16 cm / 44.00” × 54.00”Frame size: 115.57 cm × 140.97 cm × 5.08 cm / 45.50” × 55.50” × 2”Archival Pigment Print on Canson Edition Etching Paper

Untitled #8, 2007Kelly and Facundo dancing the TangoEdition 2/3Print size: 94.81 cm × 137.16 cm / 37.32” × 54.00”Frame size: 99.06 cm × 141.29 cm × 5.08 cm / 39.00” × 55.63” × 2”Archival Pigment Print on Canson Edition Etching Paper

Untitled #9, 2008The Béjart Ballet Lausanne in “Casino des Esprits” by Gil RomanEdition 1/3Print size: 102.50 cm × 137.16 cm / 40.36” × 54.00”Frame size: 106.68 cm × 141.29 cm × 5.08 cm / 42.00” × 55.63” × 2”Archival Pigment Print on Canson Edition Etching Paper

Un

titled #10, 2010R

UB

BE

RB

AN

Dan

ce Group

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rint size: 141.61 cm

× 111.44 cm / 55.75” × 43.88”

Frame size: 146.05 cm

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/ 57.50” × 45.50” × 2”A

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Untitled #11, 2011Chen-Wei Lee and Iyar Elezra of Batsheva Dance CompanyEdition 3/3Print size: 149.54 cm × 111.44 cm / 58.88” × 43.88”Frame size: 156.21 cm × 115.57 cm × 5.08 cm / 61.50” × 45.50” × 2”Archival Pigment Print on Canson Edition Etching Paper

Un

titled #12, 2012B

razilian H

ip Hop D

ancers

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× 111.44 cm / 56.18” × 43.88”


× 115.57 cm × 5.08 cm

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Un

titled #13, 2009Tradition

al Hula D

ancers

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× 111.44 cm / 55.00” × 43.88”


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Un

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iscoE

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t size: 154.94 cm × 111.44 cm

/ 61.00” × 43.88”Fram

e size: 159.07 cm × 115.57 cm

× 5.08 cm / 62.63” × 45.50” × 2”

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ival Pigm

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Un

titled #15, 2008D

ancin

g Bach

ata in th

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inican

Republic

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× 111.44 cm / 57.00” × 43.88”


× 115.57 cm × 5.08 cm

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rchival P

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Un

titled #16, 2010S

ara Mearn

s and A

mar R

amasar in

“Why am

I not w

here you are” by B

enjam

in M

illepiedE

dition 1/3

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t size: 177.48 cm × 111.44 cm

/ 69.88” × 43.88”Fram

e size: 181.61 cm × 115.57 cm

× 5.08 cm / 71.50” × 45.50” × 2”

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ival Pigm

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Un

titled #17, 2010S

ean S

uozzi and K

athryn

Morgan

in “W

hy am I n

ot wh

ere you are” by Ben

jamin

Millepied

Edition

2/3P


× 111.44 cm / 69.88” × 43.88”


× 115.57 cm × 5.08 cm

/ 71.50” × 45.50” × 2”A

rchival P

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Untitled #18, 2008Paris Opera Ballet in “A Sort Of” by Mats EkEdition 2/3Print size: 147.07 cm × 111.44 cm / 57.90” × 43.88”Frame size: 149.23 cm × 115.57 cm × 5.08 cm / 58.75” × 45.50” × 2”Archival Pigment Print on Canson Edition Etching Paper

Un

titled #19, 2008Paris O

pera Ballet in

“A S

ort Of” by M

ats Ek (T

his prin

t is not in

cluded in th

e 2013 Con

-tin

i Gallery exh

ibition).

Edition

2/3P


× 111.44 cm / 57.13” × 43.88”


× 115.57 cm × 5.08 cm

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rchival P

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Un

titled #20, 2008M

erce Cun

nin

gham

Dan

ce Com

pany in

“eyeSpace” by M

erce Cun

nin

gham

Edition

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× 111.44 cm / 61.25” × 43.88”


× 115.57 cm × 5.08 cm

/ 62.75” × 45.50” × 2”A

rchival P

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Un

titled #21, 2008M

erce Cun

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Dan

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“CR

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” by Merce C

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t size: 189.87 cm × 111.44 cm

/ 74.75” × 43.88”Fram

e size: 196.53 cm × 115.57 cm

× 5.08 cm / 77.38” × 45.50” × 2”

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Un

titled #22, 2008M

erce Cun

nin

gham

Dan

ce Com

pany in

“CR

WD

SP

CR

” by Merce C

unn

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t size: 137.74 cm × 111.44 cm

/ 54.23” × 43.88”Fram

e size: 141.92 cm × 115.57 cm

× 5.08 cm / 55.88” × 45.50” × 2”

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Un

titled #23, 2011D

oug Leth

eren, Ian

Robin

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e of Batsh

eva Dan

ce Com

pany

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× 111.44 cm / 53.75” × 43.88”


× 115.57 cm × 5.08 cm

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Un

titled #24, 2010R

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dition 1/3

Prin

t size: 119.70 cm × 111.44 cm

/ 47.13” × 43.88”Fram

e size: 123.83 cm × 115.57 cm

× 5.08 cm / 48.75” × 45.50” × 2”

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Un

titled #25, 2008M

erce Cun

nin

gham

Dan

ce Com

pany in

“eyeSpace” by M

erce Cun

nin

gham

Edition

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× 111.44 cm / 52.25” × 43.88”


× 115.57 cm × 5.08 cm

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Untitled #26, 2009Traditional Hula DancerEdition 1/3Print size: 111.44 cm × 111.44 cm / 43.88” × 43.88”Frame size: 115.57 cm × 115.57 cm × 5.08 cm / 45.50” × 45.50” × 2”Archival Pigment Print on Canson Edition Etching Paper

Untitled #27, 2011Claire Westby in “she dreams in code” by Liz GerringEdition 2/3Print size: 190.29 cm × 111.44 cm / 74.92” × 43.88”Frame size: 194.31 cm × 115.57 cm × 5.08 cm / 76.50” × 45.50” × 2”Archival Pigment Print on Canson Edition Etching Paper

Untitled #28, 2012Laura Halzack, Michael Apuzzo and Sean Mahoney in “House of Joy” by Paul TaylorEdition 1/3Print size: 106.05 cm × 137.16 cm / 41.75” × 54.00”Frame size: 109.86 cm × 140.97 cm × 5.08 cm / 43.25” × 55.50” × 2”Archival Pigment Print on Canson Edition Etching Paper

Un

titled #29, 2012S

ean M

ahon

ey, Mich

ael Novak, M

ichael Trusn

ovec and M

ichael A

puzzo in “G

ossamer G

allants” by

Paul TaylorE

dition 1/3

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t size: 168.91 cm × 111.76 cm

/ 66.50” × 44.00”Fram

e size: 171.45 cm × 115.57 cm

× 5.08 cm / 67.50” × 45.50” × 2”

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Untitled #30, 2012Elizabeth Bragg and Jeffrey Smith in “Cloven Kingdom” by Paul TaylorEdition AP 1/3Print size: 102.24 cm × 111.76 cm / 40.25” × 44.00”Frame size: 106.05 cm × 115.57 cm × 5.08 cm / 41.75” × 45.50” × 2”Archival Pigment Print on Canson Edition Etching Paper

Un

titled #31, 2012M

ark Morris D

ance G

roup in “G

rand D

uo” by Mark M

orrisE

dition 1/3

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t size: 162.56 cm × 111.76 cm

/ 64.00” × 44.00”Fram

e size: 166.37 cm × 115.32 cm

× 5.08 cm / 65.50” × 45.40” × 2”

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Un

titled #32, 2012M

ark Morris D

ance G

roup in “G

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orrisE

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t size: 190.18 cm × 111.76 cm

/ 74.88” × 44.00”Fram

e size: 194.00 cm × 115.57 cm

× 5.08 cm / 76.38” × 45.50” × 2”

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Un

titled #33, 2012M

ark Morris D

ance G

roup in “G

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orrisE

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t size: 190.18 cm × 111.76 cm

/ 74.88” × 44.00”Fram

e size: 194.00 cm × 115.57 cm

× 5.08 cm / 76.38” × 45.50” × 2”

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Un

titled #34, 2012M

ark Morris D

ance G

roup in “G

rand D

uo” by Mark M

orrisE

dition 2/3

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× 5.08 cm / 76.38” × 45.50” × 2”

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Untitled #35, 2014Brazilian Forró, ArgentinaEdition 1/3Print size: 118.11 cm × 77.47 cm / 46.50” × 30.50”Frame size: 121.62 cm × 80.98 cm × 5.08 cm / 47.88” × 31.88” × 2”Archival Pigment Print on Canson Edition Etching Paper

Untitled #36, 2014Escola de Samba Portela, rehearsal for Carnival competition in Ireneo Portela, Buenos AiresEdition 1/3Print size: 155.52 cm × 111.76 cm / 61.23” × 44.00”Frame size: 159.03 cm × 115.27 cm × 5.08 cm / 62.61” × 45.38” × 2”Archival Pigment Print on Canson Edition Etching Paper

Untitled #37, 2014Baile Charme, under the bridge at Madureira, Rio de JaneiroEdition 1/3Print size: 147.32 cm × 111.76 cm / 58.00” × 44.00”Frame size: 150.83 cm × 115.27 cm × 5.08 cm / 59.38” × 45.38” × 2”Archival Pigment Print on Canson Edition Etching Paper

38Untitled #38, 2014Milonga Canning Dance Hall in Buenos Aires Edition 1/3Print size: 147.32 cm × 111.76 cm / 58.00” × 44.00”Frame size: 150.83 cm × 115.27 cm × 5.08 cm / 59.38” × 45.38” × 2”Archival Pigment Print on Canson Edition Etching Paper

Mikhail Baryshnikov - Dancing Away - ContiniArtUK

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