"distributing, creating, and destroying a multiplicity of vanishing points, brown makes a space in a closed room that will not place her under the economy of perspectival, that mode of gazing that historically consigned women to their house arrest."
— andré lepecki in exhausting dance: performance and the politics of movement on trisha brown’s it’s a draw/live feed. (via karaj)
"don’t ask the same questions as everyone else."
"in a way, i think about it as a frame and a project. coming back to what you were asking before—i think you were asking me this?—about performance, the book is the final factor, the sort of material product that has come from my working with and within a certain frame. but i feel like that really extended into a lot of different things, like poetry readings, romantic relationships, friendships—all those things were a part of it."
"yet even when men have been lifelong readers, poring over books at night in bed when life offered no other suitable periods, they rarely, i suspect, have unmet friends. perhaps they move so constantly in groups that they are seldom lonely and in need of such companionship. perhaps no man, reading the life of a contemporary as i have read maxine kumin’s life, would transform that literary exercise into friendship. women, i believe, search for fellow beings who have faced similar struggles, conveyed them in ways a reader can transform into her own life, confirmed desires the reader had hardly acknowledged—desires that now seem possible. women catch courage from the women whose lives and writings they read, and women call the bearer of that courage friend."
"the silhouette lends itself to, you know, avoidance of the subject. you know, not being able to look at it directly."
"wanting to be the heroine and yet wanting to kill the heroine at the same time."
"i love you and i don’t care what they say about you."