Michelle Ellsworth

Michelle Ellsworth is an American performance artist and an associate professor at the University of Colorado-Boulder as the co-director of the dance department.[1] Ellsworth's work spans video, performable websites, drawing and live performances and employs absurdist humor, new technologies, monologue, and dance. She has exhibited or performed at Fusebox (Austin), On the Boards (Seattle), Counterpath (Denver), Chocolate Factory (Long Island City, NY), DiverseWorks (Houston, TX), Dance Theatre Workshop (New York City), and the Abrons Arts Center (New York City).

She has been called a "jittery performer who expertly folds nervousness into her character"[2] and "an excellent comedian, impersonating a slightly scatterbrained TED talk lecturer."[3] Her major works include TIFPRABAP.ORG, The Objectification of Things, Preparation for the Obsolescence of the Y Chromosome and Clytigation: State of Exception. She has received the Doris Duke Impact Award,[4] is a Creative Capital grantee[5] and is a United States Artists Knight Fellow.[6] ArtForum has said she is "doing some of the most engrossing explorations of how the body and technology coexist and collide."[7]

Notable Works

The Objectification of Things

The Objectification of Things is a performance which follows the life of a hamburger from birth to death and ultimately resurrection. Taking the attention away from humans and instead focusing on consumable things of the everyday, the work approaches serious issues like climate change through an entry point of humor. The work weaves together dance, game shows, lectures, and scientific data and research.[8]

Obsolescence of the Y Chromosome

Ellsworth's 2015 performance Obsolescence of the Y Chromosome presents the notion of preparing for a world without men. She conflates both the passing of a friend's father as well as a 2003 article in which New York Times columnist Maureen Dowd presents the notion that the Y chromosome has been slowly losing matter over millennia.[2][9] Combining recent scientific research by collaborating with evolutionary biologists with personal narrative and absurd gestures, creates an "artistically wild, scientifically accurate movement/theater, performance piece."[10] Beginning the performance with the statement, "I don't mean to make trouble" as she snaps her fingers, the critic Nancy Wozny writes in response, "Oh, yes you do, Ms. Ellsworth!" pointing to the rebellious and irreverent perspective that informs and energizes this piece and her body of work at large.[11]

References

  1. ↑ "Michelle Ellsworth". University of Colorado-Boulder. Retrieved February 26, 2016.
  2. 1 2 Burke, Siobhan (2015-01-13). "Michelle Ellsworth and Jeremy Wade at American Realness". The New York Times. ISSN 0362-4331. Retrieved 2016-02-26.
  3. ↑ Seibert, Brian (2015-11-13). "Review: Michelle Ellsworth’s Provocative Protocols". The New York Times. ISSN 0362-4331. Retrieved 2016-02-26.
  4. ↑ "Michelle Ellsworth | Doris Duke Performing Artist Awards". ddpaa.org. Retrieved 2016-02-26.
  5. ↑ "Creative Capital - Investing in Artists who Shape the Future". creative-capital.org. Retrieved 2016-02-26.
  6. ↑ "Michelle Ellsworth". United States Artists. Retrieved 2016-02-26.
  7. ↑ Rocco, Claudia La. "Claudia La Rocco on the fall 2015 performance season". artforum.com. Retrieved 2016-02-26.
  8. ↑ Osnes, Beth (October 2009). "Performance Review: THE OBJECTIFICATION OF THINGS". Theatre Journal. Johns Hopkins University Press. 61 (3): 489–490. ISSN 0192-2882.
  9. ↑ "Michelle Ellsworth - PICA". PICA. Retrieved 2016-02-26.
  10. ↑ Rinaldi, Ray. "Chromosome conundrum begs her to question "Y"". www.denverpost.com. The Denver Post. Retrieved 2016-02-26.
  11. ↑ Wozny, Nancy (October 2015). "Dance Renegades: Online Oddball". Dance Magazine. 89 (10): 29. ISSN 0011-6009.


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