If JR Builds It...They Will Come
He wears sunglasses indoors. He parties with rock stars and hip-hop trendsetters. He's shown work in museums including the Tate Modern in London and Art Basel in Miami, as well as en plein air (he's French)—at the site of the separation wall between Israel and Palestine, a bridge in Paris and a mountainside in Brazil. He's also a recipient of the prestigious TED Prize, joining the ranks of such luminaries as Bill Clinton and Bono.
And for the last nine months, JR has been exploring our world, creating a large-scale installation for New York City Ballet's second annual Art Series.
The view of NYC's Koch Theater
Images by JR via Instagram
The work was unveiled at NYCB's opening night on Tuesday, but last night's first of three "New York City Ballet Art Series Presents JR" performances brought many new (many bearded) faces to New York City's David H. Koch Theater in droves. That is, after all, the point. According to a NYCB press release, "During the inaugural season of the series, which featured a collaboration with the Brooklyn-based artist collective FAILE, 70% of audience members attending the two Art Series performances were new to NYCB." I'd venture to say last night's event was even more successful. The theater was completely full—online tickets have also sold out for the next two Art Series nights—and buzzing with hip, fresh and creative energy.
Bringing in one of the wooden palettes. Photo by JR via Instagram.
Compared to a typical night at the ballet, I'm guessing the median age of attendees dropped by a solid 25–30 years, and I don't think it was only the result of $29 tickets and the free Brooklyn Brewery refreshments during the DJ-ed after-party. Bring in a highly followed (he has more than 323,000 Instagram fans) and young (he's only 30) artist, and people will come. All swell ideas for performing arts institutions nationwide.
Yes, that's a DJ working the third ring.
Left: The view from the top, photo by JR via Instagram; right: Tiler Peck up-close
Did I mention the installation was breathtaking? Viewed from above in the fourth ring, JR's 6,500 square-foot portrait becomes a 3–D masterpiece, with more than 80 dancers enveloped in waves of what looks like white fabric in the shape of an eye. Up close, you're standing on close-to-life-size photographs of the dancers, laying on white paper. There were also artworks transferred onto wooden palettes in the theater house and huge photographs transforming the outside of the Koch Theater. The work will be on display during NYCB's winter season through March 2, and you can view the installations free of charge on select dates. For more info, click here.
As for the performance, the highlights included Tiler Peck making her debut in Christopher Wheeldon's After the Rain, Rebecca Krohn in Balanchine's Kammermusik No. 2, and Teresa Reichlen, Megan Fairchild and Joaquin De Luz in Balanchine's Rubies. (Disclaimer: JR did leave after the opener, Kammermusik No. 2. Krohn was absolutely fabulous onstage, but the long and dissonant Hindemith score may not have been exactly easy for any ballet newcomer. Take a look at JR's Instagram feed, and it's clear he's gotten to know NYCB and its dancers well.)
Update: I've just been told that JR did, in fact stay through the evening, moving to backstage to get a more spectacular view. Here's hoping he got a few more pictures like the one he took below, from Nutcracker.
Behind-the-scenes of NYCB's snow scene; photo by JR via Instagram.
Dancers are understandably obsessed with food. In both an aesthetic and athletic profession, you know you're judged on your body shape, but you need proper fuel to perform your best. Meanwhile, you're inundated with questionable diet advice.
"My 'favorite' was the ABC diet," says registered dietitian nutritionist Kristin Koskinen, who trained in dance seriously but was convinced her body type wouldn't allow her to pursue it professionally. "On the first day you eat only foods starting with the letter A, on the second day only B, and so on."
Back in 2011 when Joe Lanteri first approached Katie Langan, chair of Marymount Manhattan College's dance department, about getting involved with New York City Dance Alliance, she was skeptical about the convention/competition world.
"But I was pleasantly surprised by the enormity of talent that was there," she says. "His goal was to start scholarship opportunities, and I said okay, I'm in."
Today, it's fair to say that Lanteri has far surpassed his goal of creating scholarship opportunities. But NYCDA has done so much more, bridging the gap between the convention world and the professional world by forging a wealth of partnerships with dance institutions from Marymount to The Ailey School to Complexions Contemporary Ballet and many more. There's a reason these companies and schools—some of whom otherwise may not see themselves as aligned with the convention/competition world—keep deepening their relationships with NYCDA.
Now, college scholarships are just one of many ways NYCDA has gone beyond the typical weekend-long convention experience and created life-changing opportunities for students. We rounded up some of the most notable ones:
Yvonne Rainer's Parts of Some Sextets (AKA "the mattress dance") hasn't been revived since it premiered in 1965. Nor has Rainer had any wish to do it again, to ask performers to heave 10 mattresses around while carrying out 31 tasks that changed every 30 seconds. It was an unwieldy, difficult dance. (Even the title is unwieldy.) But Emily Coates, who has danced in Rainer's work for 20 years, became curious about this piece and was determined to see it again—and to dance in it. She will get her wish November 15–17, when the mattress dance will be performed as part of the Performa 19 Biennial.
"The show must go on" may be a platitude we use to get through everything from costume malfunctions to stormy moods. But when it came to overcoming a literal hurricane, Houston Ballet was buoyed by this mantra to go from devastated to dancing in a matter of weeks—with the help of Harlequin Floors, Houston Ballet's longstanding partner who sprang into action to build new floors in record time.