Click links to read more of the articles excerpted below.
House of Mind/Dance Magazine
In House of Mind, Pat Graney once again uses memory and consciousness as her muse. The piece is really two works of art: a multi-media installation that's a mind-boggling array of art, and a dance performance. Graney has transformed a converted 5,000-square-foot warehouse to great effect, using bleached white sand and alternating hot air blasts in a maze of sometimes charming, sometimes haunting rooms.
KTF 2009 Performances at Mission Creek Corrections Center for Women
The Mission Creek Corrections Center for Women, or MCCCW, is situated in a rural area outside of Belfair, Washington, a pleasant village on the Olympic Peninsula, south of Bremerton. As the ferry docks at Bremerton, I’m confronted by the gunmetal gray of naval buildings and massive aircraft carriers which have stood rusting in the rain long past their prime. Bremerton is sedate and tough. There’s no neon or glitz. Incongruously, in the park next to the ferry dock, a couple is being photographed in tux and wedding gown.
House of Mind/Houston
Seeing Pat Graney's House of Mind at DiverseWorks reminded me that one of the perils of being a visual-arts writer is that you tend to get sucked into strictly going to arts events that pertain to your beat to the exclusion of, say, the performing arts. That's one reason I'm grateful to Graney for crossing genres by creating an installation in which to stage her dance company's terrific performance—and to DiverseWorks for encouraging her to do so.
Seattle PI/Alpert Award
Pat Graney, a Seattle choreographer with a national reputation, won the 2008 Alpert Award in the Arts for dance last month. Founded in 1994 by the Herb Alpert Foundation, the award, which carries a cash prize of $75,000, honors artists "who are propelling their work in new and unpredictable directions.
Vivian girls/Dance Magazine
Graney's inspired 70-minute piece explores moral landscapes rather than the temporal ones seen in her previous work, Tattoo. The Vivian girls are five (seven in Darger's work) would he heroines, trying to save society from death and destruction. They're only partially successful in halting apocalyptic horror.
Pat Graney is an enthusiastic gardener, fiercely proud of the lilies and dahlias in her backyard. But she is better known for the way she's cultivated a devoted dance audience. Her clean and gutsy dancing, heavy on theatrics and stunning special effects, is infused with the personal insights of the dancers. Her most recent piece, Tattoo, showcases particularly unusual spatial and temporal landscapes.
Keeping the Faith/New York Times
Behind the barbed wire fences and the steel prison gates of Washington Correctional Center, this state's maximum security prison for women, a group of inmates are rebelliously screaming: "We don't want to be here! We want out!"