1143:, to whom Counts is often compared and was a conscious influence. Some of the titles and locations of Counts's early work paid direct homage to Wilson. While their work has clear similarities, Counts emerged from Wilson's shadow and found his voice relatively early in his career, primarily due to Counts having drawn so profoundly on the raw material of his own experiences in his work – submerged as these were beneath multiple layers of allusion. Some have speculated that his work continues to draw routine comparisons with Wilson due to the decline in the number of avant-garde artists active in performance beginning in the 1990s. In other words, the contexts in which his work could be fully understood and appreciated have narrowed considerably – there simply aren’t many other artists to compare him to.
1041:), on organizing the Emerging Curator Series, whose unifying principle was viewing the curator as an artist. While there was resistance to this concept in New York's visual arts establishment, the series became a valued early career platform for curators and artists who soon thereafter rose to prominence in the art world. Two independent curators, Joseph Doubtfire and Giulia Ranchetti, stated in their blog article on the curator-artist connection, that curators in the US could produce artists - as they already had been in Europe for some time, as evidenced in scholarly articles written about the phenomenon..
1012:(2004), Counts collaborated with Christopher Allen, Brian House, and Jesse Shapins to create "Massively Authored Public Art" that was a forerunner of the geospatial web in its creation of a "deep map" of the world. Volunteers who submitted online requests were sent coded stickers by mail and asked to write a message, place the stickers in a location of their choice, and submit a photograph of the site by SMS. In 2005 Counts and the Yellow Arrow Mobile App/Global Public Art Project created an immersive installation and exhibition for
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679:’ account of the burning of Rome. A one-line summary in the playbill read "This performance is as a dream is, or a landscape. Its meaning is more or less what you determine." The pre-show began in the shopfront gallery as the audience milled around a bar and one by one noticed an actor dressed in elegant evening wear suspended high above on a wire. He descended a ladder with his hands, then led the audience up a ramp decorated with a frieze of tiny flames (a reference to the
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abstract, but it held a certain logic that the whole world operated within. It was then a compelling experience to be a voyeur in that world on the part of the audience." Counts arguably created his most highly developed immersive environments in GAle GAtes et al.’s 40,000 square-foot warehouse space, which served as a kind of laboratory in which he incubated performance concepts that grew more and more elaborate and refined over the five years the company was in residence.
664:, where David Walentas of Two Trees Management offered him a lease for a 40,000 square foot warehouse and shopfront gallery in exchange for the company attracting a steady stream of visitors to what was then a somewhat forbidding neighborhood. Counts, Stern and Diebes, joined resident artists Michael Anderson, Tom Fruin and Jeff Sugg to create four large-scale performance installations and mount numerous exhibitions and off-site events over the following five years.
484:. At Skidmore, Counts also created the "Failure Series", an open forum of experimental performance concepts that continued after he graduated under the leadership of collaborators Ian Belton and Yehuda Duenyas. The series included a wide range of performance, theatrical, operatic and scenic elements spread over several acres of Skidmore Campus, anticipating much of his later work with immersive performance installations and theater.
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installations by intelligent and moving stage lights and Diebes’ through-composed electronic score: a living room whose back wall disappeared to reveal a pixie in a slowly receding forest, a tryst in a public bathroom mounted on wheels and swirling around the space, a family dinner at an ornate and extravagantly long table, a tartan-skirted schoolgirl emerging from the top of a wardrobe, and more. A sequel,
1170:, Michael Rush describes the experience of a Counts production as "akin to diving into a hypertext on the internet, but he’s doing all the clicking and controlling. It’s also like cruising through a fun house at the carnival, but the creatures popping out of the darkness aren’t just screaming, they’re reciting oblique texts from classical literature, art criticism, Fellini movies, and Dada playlets."
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1003:, a video homage to New York City mounted in April–May 2002 in the clock faces of the DUMBO clocktower. A looped series of video portraits showed the faces of volunteers who had recorded messages describing "New York moments". Radio station WFMU simulcast the audio of the voices of the interviewed New Yorkers set to an original soundtrack on May 3.
710:. It was the first of two GAle GAtes et al. productions in which the audience was seated for the duration so that the 120-foot throw of the backstage area was visible through the false proscenium of an industrial passageway. The advantages of having permanent access to a warehouse space became apparent in
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appeared in different guises, at one point dressed in a sailor costume identical to the ones adorning a statue of a child and worn by the
Oedipus character. An armadillo puppet stood up on its hind legs to reveal a naked young woman on whose skin a projection of an image of the solar system appeared.
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A constant thread in Counts's work is the experience of immersion. In his words: "My approach with all the things I’ve ever staged was to create a world and then immerse the audience in that world… Creating an alternate reality where the rules were different, but it held together. It might be very
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GAle GAtes et al.’s move to a permanent home in 1995 brought with it an obligation to attract a steady flow of visitors. Initially with Stern and later with New York City gallerists including Mike Weiss, Counts co-organized a series of exhibitions from 1996 to 1999 that attracted a steady flow of
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with abstract shapes and video of natural forms. Through the use of an LED backdrop, Counts was able to realize on a big screen the cinematic pans and aerial shots that had been an implied element of his live stage work while adding new effects by confronting the invented time on the LED screens
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as "a fun house for the senses… a cascade of images conjured by the conscious and subconscious, and with the question of how pictures framed in the mind's eye make their way into everything, from ancient myth to abstract paintings to commercial movies." The audience was guided through multiple
653:. The performance was set halfway up a mountain, requiring the audience to make an arduous hike then descend at night, an integrated experience into the performance concept. Counts described the work as occupying the territory "when dance-theatre starts to bleed more into proper theater."
569:, in 1995, Counts directed and designed a series of performances and installations from 1996 to 1997 in multiple indoor and outdoor locations in Manhattan and in touring residencies in Thailand and Japan, gathering a growing circle of artistic collaborators along the way.
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marked a return to the walk-through format of previous performance installations. A series of installations in which audience members alternately roamed and were seated as multiple performances unfolded around them - and, at some points, in their midst, depicted Dante’s
729:, wanders through a landscape peopled by narcissists in love with their own photographed images." The landscape was a kinetic collage of multi-layered, allusive imagery. There were yet more three-dimensional reproductions of artworks –
548:. A common thread was how a subconscious or non-literal dynamic generated through collisions and confluences along the intersections of visual art, literature, music, sound, and live performance fueled the work of these artists.
898:" which the audience encountered in a space under the bleachers upon entering, and large luminous screens installed behind each orchestra that glowed in blue, red and yellow. There were three orchestras for Stockhausen's
458:, a performance and visual art company initially resident with the Lower Manhattan Cultural Council (LMCC) at various locations in Manhattan and on tour in Asia before his residence in the Brooklyn warehouse.
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with a pre-recorded text by Ruth
Margraff where set elements rolled in on wagons past performers stationed like statues on a vacant floor of 67 Broad Street. Counts and the company also produced
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screens displaying imagery created in collaboration with Ada
Whitney, co-founder and creative director of Beehive. Counts interspersed animations of night skies, deserts, and the parting of the
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I Dug a Pit a Meter Six in Either
Direction and Filled it Full of Sake. I Mixed in Honey and Milk and Poured It Over Barley and Pine Nuts and Rice and Onion and Fruit and Blood and Stopped
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I Dug a Pit a Meter Six in Either
Direction and Filled it Full of Sake. I Mixed in Honey and Milk and Poured It Over Barley and Pine Nuts and Rice and Onion and Fruit and Blood and Stopped
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I Dug a Pit a Meter Six in Either
Direction and Filled it Full of Sake. I Mixed in Honey and Milk and Poured It Over Barley and Pine Nuts and Rice and Onion and Fruit and Blood and Stopped
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After completing the LMCC residency, Counts began to search for a permanent home for the company that could accommodate the cinematic perspectives that were now a constant in his work.
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In his formative years, Counts gravitated toward the work of theater and visual artists who forged idiosyncratic and often fiercely independent artistic paths, including
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as visual elements integral to the experience of the evening as a whole in addition to six sculptures simultaneously exhibited at John McWhinnie at Glenn
Horowitz.
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Please remove or replace such wording and instead of making proclamations about a subject's importance, use facts and attribution to demonstrate that importance.
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Counts was born and raised in New York City, the son of
Carolyn Counts Fox (née Lawler) and Dr. Robert Milton Counts. He studied Theatre and Economics at
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as having the "grandest ambitions" of leading pioneers of immersive theater in New York City. Counts' former New York theatre company,
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with a text by Kevin Oakes pre-recorded by the actors (who lip-synched their lines in the live performance) and choreography by Roht.
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were performed alongside original and found texts by actors performing in an environment made of a field of wild grass harvested from
668:, a performance installation for four performers and 500 blue umbrellas, marked the official opening of the space in September 1997.
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and the surrounding streets its stage, an immersive environment for a program of spatial music for symphony orchestra presented in a
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was a twelve-hour performance installation over six days in a 65,000 sq. ft. space on the 51st floor of 55 Water Street. Texts by
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After graduating from
Skidmore, Counts founded the C & Hammermill Company and Exhibition Space in a 100 ft.-long warehouse in
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and invented texts. At one point, the
Oedipus figure shot arrows across the entire backstage area at a circle of light as the
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555:. Counts collaborated with company members on a series of installations, site-specific performances and guerrilla artworks.
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After GAle GAtes et al. closed in 2003, Counts embarked on a series of interactive works situated in the public realm. In
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under the auspices of the Bangkok-Bali-Berlin Festival. Counts, Stern and Oglevee, joined composer Joseph Diebes to study
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Counts has worked in a wide range of contexts and locations, which include a performance on the side of a mountain in
60:{{This page was flagged for being "written as a resume" which is incorrect and I am flagging the flag|date=July 2023}
870:’s Drill Hall presented in-the-round. Counts designed an immersive lighting and performance environment for works by
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The work included scenes involving a surreally distanced Oedipal coupling of two actors who recited a combination of
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This feeling can be compared to walking through the galleries of an art museum, much as Counts wandered through the
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at Lincoln Center. Monodramas was an evening of works for solo soprano and orchestra: the world stage premiere of
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2032:. University of Colorado, Boulder: Theatre and Dance Graduate Theses & Dissertations. 27. pp. 109–122
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visitors to the DUMBO shopfront gallery. In 2001-2, Counts collaborated with Bob Bangiola (then at New York's
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2263:"New York Philharmonic: Philharmonic 360 - Spatial Music from Mozart's Don Giovanni to Stockhausen's Gruppen"
1957:. University of Colorado, Boulder: Theatre and Dance Graduate Theses & Dissertations. 27. pp. 80–81
1932:. University of Colorado, Boulder: Theatre and Dance Graduate Theses & Dissertations. 27. pp. 80–81
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https://www.hk.artsfestival.org/en/programmes/opera-madame-white-snake-by-zhou-long-and-cerise-lim-jacobs/
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2148:. University of Colorado, Boulder: Theatre and Dance Graduate Theses & Dissertations. 27. p. 139
2123:. University of Colorado, Boulder: Theatre and Dance Graduate Theses & Dissertations. 27. p. 130
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1982:. University of Colorado, Boulder: Theatre and Dance Graduate Theses & Dissertations. 27. p. 86
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Executive Producer Joseph V. Melillo pointed him to the Brooklyn waterfront neighborhood now known as
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2289:"Moses Leaves Egypt, and City Opera Comes Home - City Opera's 'Moses in Egypt,' at City Center"
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Genzlinger, Neil (April 20, 2001). "It's Strange and Unsettling, Adrift Amid Hellish Images".
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that included living statues costumed for their subsequent performance of the Act I finale of
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with the real-time of the live performance, partly through the use of a revolving stage.
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https://www.routledge.com/The-Immersive-Theatre-of-GAle-GAtes/Mooney/p/book/9781032034256
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The last large-scale performance installation produced by GAle GAtes et al. in DUMBO was
683:) to the warehouse space above, where they encountered a series of episodes described in
1676:"Rebel Director: Ian Belton's Nomadic Journey // The Skidmore Theater Living Newsletter"
782:. The audience observed the scene while walking over an elevated walkway as Manhattan's
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In 2016, Counts collaborated with Florida artist JEFRË and 3-Legged Dog on creating
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The first fully staged production Counts directed and designed in the new space was
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KA MOUNTAIN AND GUARDenia TERRACE: a story about a family and some people changing
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and immersive performance events and a creator and producer of large-scale public
1761:"Field of Mars Revisited: The Opera-Installation-Performance of GAle GAtes et al"
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1565:"Air Raids, Ghosts & Escape Rooms: Inside New York's Immersive Theater Boom"
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In 2011, Counts created a series of twelve sculptures that took key motifs from
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skyline appeared across the water through the shopfront windows of the gallery.
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Field of Mars Revisited: The Opera-Installation-Performance of GAle GAtes et al
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Field of Mars Revisited: The Opera-Installation-Performance of GAle GAtes et al
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Field of Mars Revisited: The Opera-Installation-Performance of GAle GAtes et al
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Field of Mars Revisited: The Opera-Installation-Performance of GAle GAtes et al
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Field of Mars Revisited: The Opera-Installation-Performance of GAle GAtes et al
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Field of Mars Revisited: The Opera-Installation-Performance of GAle GAtes et al
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A key inspiration for Counts is the work of the American director and designer
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theme parks and other global entertainment and media companies. He co-founded
1739:"Faculty Spotlight: Gautam Dasgupta // The Skidmore Theater Living Newsletter"
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2349:"DUMBO; Enigmatic Images On a Clock Tower, Offering A New York State of Mind"
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Counts is the Founding Director of Counts Projects and produces his work in
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Field of Mars, 1839, Till Losch, So Long Ago I Can't Remember, The Monodramas
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953:, a production by Beth Morrison Projects presented by Arts Emerson at the
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I Was Sitting On My Patio This Guy Appeared I Thought I Was Hallucinating
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audience in Art and America as "dazzled witnesses to a cosmic event." In
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1651:"GAle GAtes et al, Pioneering Brooklyn Theatre Company, to Shut Doors"
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Counts lives in Brooklyn Heights with his wife, Sharon, and two sons.
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When he moved back to New York City, he co-founded GAle GAtes et al.
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Rush, Michael (Jan 2000). "Italicized Monsters and Beached Whales".
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Counts returned to New York City Opera in 2013 to direct and design
2713:"From Dante to 'Walking Dead,' He's a Master of Immersive Theater"
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2237:"Who Killed This Woman's Lover? And Other Elusive Operatic Issues"
1539:"From Dante to 'Walking Dead', He's a Master of Immersive Theater"
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90 Degrees from an Equinox? Where are We? And Where are We Going?,
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90 Degrees from an Equinox? Where are We? And Where are We Going?
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Doubtfire & Ranchetti, Joseph & Giulia (30 April 2015).
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1851:"As It Turns Artistic, A Noirish Enclave Steps Into the Light"
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invited Counts to direct and design a new production entitled
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as a "mad genius" and "a master of immersive theater" and in
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2375:"Follow the Yellow Arrows: An Interview with Michael Counts"
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BILL: The World’s First Live and Interactive Video Billboard
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In 2016, Counts staged the world premiere of the seven-hour
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Immersive Theatre Visionary; artistic director of GAle GAtes
1119:. Counts presented Michael’s media concepts at MIT and at
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The only theatre production Counts has directed since was
423:. He has also directed and designed opera productions at
2169:"It's Strange and Unsettling, Adrift Amid Hellish Images"
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and tools are available to assist in formatting, such as
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featured the performance in a free worldwide webcast.
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This performance was an abstract re-interpretation of
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A major contributor to this article appears to have a
2427:"John McWhinnie, an Expert in Rare Books, Dies at 43"
1191:(co-directed with Gautam Dasgupta and Phil Soltanoff)
2210:"Embracing Love and Tech in Large Scale "Play/Date""
1037:), and Anne Ellegood (now Executive Director of the
866:, a staging of "spatial music" for orchestra in the
401:, a six-story video tower in a planned community in
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1024:stickers in 467 cities and 35 countries worldwide.
592:was a walk-through performance freely adapted from
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995:Immersive and Interactive Events and Installations
743:painting – interwoven with invented scenarios. A
633:to collaborate with the BoiSakti Dance Theatre of
1313:The World: An Immersive Installation Performance
366:and digital platforms. He has been described in
629:Internationally, a nine-member company went to
991:at the Hong Kong Arts Festival in March 2019.
2625:"Carnival for the Senses in a Huge Warehouse"
2067:"Carnival for the Senses in a Huge Warehouse"
1513:"Carnival for the Senses in a Huge Warehouse"
999:The first work Counts created after 9/11 was
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2649:Davis, Douglas (1998). "Drama on the Move".
649:. At the Farm, Counts directed and designed
189:, which are uninformative and vulnerable to
702:," took its inspiration from the eponymous
204:and maintains a consistent citation style.
79:promotes the subject in a subjective manner
53:Learn how and when to remove these messages
2326:"Artists in Conversation - Michael Counts"
1039:Institute of Contemporary Art, Los Angeles
275:
419:warehouse; and in an escape room maze in
264:Learn how and when to remove this message
246:Learn how and when to remove this message
158:Learn how and when to remove this message
101:Learn how and when to remove this message
1154:as a child. In some of the sequences in
921:. The set design featured a backdrop of
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1409:Betty & Veronica by Rachel Antonoff
1397:The Walking Dead Experience – Chapter 1
1205:Waterloo Mills and the Kings of Prussia
692:, was mounted in 2006 by Counts Media.
561:After creating his second work for the
487:Gautam Dasgupta and Counts' then-wife,
480:and a poetic, performative portrait of
1079:Counts has been a featured speaker at
961:, MA. The work united three scores by
425:Lincoln Center for the Performing Arts
2670:PAJ: A Journal of Performance and Art
2287:Tommasini, Anthony (April 14, 2013).
2241:Machine de l’Être, Erwartung, Neither
1537:Collins-Hughes, Laura (7 July 2016).
1461:2019 Baltimore Orioles fan experience
1168:PAJ: A Journal of Performance and Art
7:
2711:Collins-Hughes, Laura (2016-07-07).
2537:was performed on an actual mountain.
2519:The Life and Times of Sigmund Freud
2517:is a nod to Wilson’s own early work
2235:Tommasini, Anthony (27 March 2011).
1361:Dream Sequence 3:52:29 am–3:56:12 am
1050:Dream Sequence 3:52:29 am–3:56:12 am
938:had performed in its original home,
862:invited Counts to direct and design
472:The Life and Times of Lewis Carroll.
470:from 1988 to 1993, where he created
2515:The Life and Times of Alice Liddell
2451:Indursky, Bill (January 27, 2016).
2167:Genzlinger, Neil (April 20, 2001).
1494:"The Disneyland Of VR Escape Rooms"
1196:The Life and Times of Lewis Carroll
725:"in which a child, in the guise of
572:In New York, Counts' installation,
405:, and two immersive adaptations of
384:The Immersive Theatre of GAle GAtes
196:Please consider converting them to
76:This article contains wording that
2623:Marks, Peter (December 24, 1997).
2425:Fox, Margalit (January 11, 2012).
2373:Jenkins, Henry (31 January 2007).
2347:Bahrampour, Tara (April 7, 2002).
2065:Marks, Peter (December 24, 1997).
2054:. DUMBO, Brooklyn: Playbill. 1997.
393:, a bus custom-designed that made
81:without imparting real information
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1849:Marks, Peter (October 10, 1997).
1511:Marks, Peter (24 December 1997).
1389:2014 Michael Kors – Jet Set Event
1217:Frontier and the Kings of Prussia
622:, the SoHo Arts Festival and the
311:Director, Designer, Visual Artist
34:This article has multiple issues.
2572:Vinitski, Daniella Leah (2013).
2547:Vinitski, Daniella Leah (2013).
2142:Vinitski, Daniella Leah (2013).
2117:Vinitski, Daniella Leah (2013).
2092:Vinitski, Daniella Leah (2013).
2026:Vinitski, Daniella Leah (2013).
2001:Vinitski, Daniella Leah (2013).
1976:Vinitski, Daniella Leah (2013).
1951:Vinitski, Daniella Leah (2013).
1926:Vinitski, Daniella Leah (2013).
1901:Vinitski, Daniella Leah (2013).
1876:Vinitski, Daniella Leah (2013).
1824:Vinitski, Daniella Leah (2013).
1799:Vinitski, Daniella Leah (2013).
1774:Vinitski, Daniella Leah (2013).
1589:Vinitski, Daniella Leah (2013).
1466:HOODOO: The Legend of Creole Joe
1097:California Institute of the Arts
618:at various locations, including
174:
138:. Please discuss further on the
117:
67:
23:
2477:https://www.a-plancoaching.com/
1492:Fink, Charlie (April 4, 2017).
837:, and the US stage premiere of
42:or discuss these issues on the
2401:"Curator as Artist as Curator"
346:(born in 1970) is an American
200:to ensure the article remains
1:
2324:Zorn, John (March 17, 2011).
1563:Cox, Gordon (July 25, 2017).
1109:Williamstown Theater Festival
690:The Field of Mars - Chapter 1
2494:Producing Innovation Podcast
2457:Design Life Network Magazine
2173:So Long Ago I Can't Remember
1392:2015 The Beacon at Lake Nona
1325:The Field of Mars: Chapter 1
1301:So Long Ago I Can’t Remember
973:(the Pulitzer Prize-winning
763:(2001) a free adaptation of
761:So Long Ago I Can’t Remember
493:PAJ: Performing Arts Journal
2761:https://countsprojects.net/
1743:www.skidmoretheaternews.com
1680:www.skidmoretheaternews.com
289:1970 (age 53–54)
2807:
2599:"Thinking Outside the Box"
2490:"Thinking Outside the Box"
1614:https://countsprojects.com
1152:Metropolitan Museum of Art
1093:The Rockefeller Foundation
801:Opera and Orchestral Music
563:Metropolitan Museum of Art
2379:Confessions of an ACA-Fan
1458:- Hong Kong Arts Festival
1451:2018 August Moon Drive-In
1367:New York Philharmonic 360
1035:Brooklyn Academy of Music
864:New York Philharmonic 360
658:Brooklyn Academy of Music
16:American theater director
2781:American opera directors
1235:To SEA: Another Mountain
1223:The Making of a Mountain
1117:Tisch School of the Arts
1061:The Beacon and Code Wall
645:’s Body Weather Farm in
616:TO SEA: Another Mountain
567:The Making of a Mountain
462:Early life and education
450:. He has consulted for
2453:"Projecting Confidence"
2405:curatingthecontemporary
1075:Talks and Presentations
1071:commissioned the work.
955:Cutler Majestic Theatre
504:Theater and Performance
441:Hong Kong Arts Festival
433:Cutler Majestic Theatre
2214:The Clyde Fitch Report
1719:. Producing Innovation
1468:- Spiegelpalast Berlin
1448:- NY Fall Fashion Week
934:marked the first time
620:Grand Central Terminal
1698:"Theascent.co |"
1271:To SEA: Another Ocean
1253:Oh… A Fifty-Year Dart
1123:’s Innovation Lab in
951:The Ouroboros Trilogy
856:New York Philharmonic
847:, with a libretto by
805:In 2011, Director of
756:character looked on.
666:To SEA: Another Ocean
604:Oh… A Fifty-Year Dart
590:wine-blue-open-water,
491:, co-founders of the
439:, and on tour at the
136:neutral point of view
2243:. The New York Times
2175:. The New York Times
2073:. The New York Times
1857:. The New York Times
1855:wine blue open water
1713:"GAle GAtes, Part 1"
1473:Producing Innovation
1428:The Path of Beatrice
1259:wine-blue-open-water
1129:Producing Innovation
820:La Machine de l'Être
780:nine circles of hell
588:. The installation,
429:New York City Center
1434:PARADISO: Chapter 2
1403:PARADISO: Chapter I
1379:Walking Dead Escape
1200:1992 Failure Series
936:New York City Opera
807:New York City Opera
534:Robert Rauschenberg
477:Alice In Wonderland
2717:The New York Times
2629:The New York Times
2431:The New York Times
2353:The New York Times
2293:The New York Times
2216:. Clyde Fitch, LLC
2196:The New York Times
1543:The New York Times
1517:The New York Times
1456:Madame White Snake
1440:The Repatha Escape
1160:The New York Times
1131:in February 2019.
1107:Universities, the
989:Madame White Snake
976:Madame White Snake
942:, since moving to
868:Park Avenue Armory
685:The New York Times
681:Great Fire of Rome
369:The New York Times
293:New York, New York
2597:Counts, Michael.
2488:Counts, Michael.
2071:The Field of Mars
2052:The Field of Mars
1711:Counts, Michael.
1415:Ouroboros Trilogy
1349:The Ride New York
1277:The Field of Mars
1156:The Field of Mars
946:in the mid-‘60s.
835:Arnold Schoenberg
770:The Divine Comedy
673:The Field of Mars
456:GAle GAtes et al.
421:Midtown Manhattan
412:The Divine Comedy
364:art installations
341:
340:
316:Years active
274:
273:
266:
256:
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248:
206:Several templates
168:
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1745:. Archived from
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1682:. Archived from
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1664:http://lmcc.net/
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1628:. Archived from
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1489:
1475:- iTunes Podcast
1423:- Bang on a Can
553:Saratoga Springs
530:Merce Cunningham
468:Skidmore College
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1307:Looking Forward
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1030:
1018:Art Basel Miami
1001:Looking Forward
997:
858:Music Director
803:
795:Lower East Side
518:Richard Foreman
506:
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489:Bonnie Marranca
464:
437:Emerson College
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2755:External links
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2651:Art in America
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2603:iTunes Preview
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1752:
1749:on 2017-04-27.
1730:
1717:buzzsprout.com
1703:
1689:
1686:on 2017-04-27.
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1653:. 28 May 2003.
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981:Paola Prestini
944:Lincoln Center
932:Moses in Egypt
918:Moses in Egypt
849:Samuel Beckett
845:Morton Feldman
802:
799:
708:Joseph Cornell
675:, inspired by
578:Gertrude Stein
546:Gertrude Stein
542:Antonin Artaud
538:Marcel Duchamp
522:Joseph Cornell
505:
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348:stage director
344:Michael Counts
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148:September 2021
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91:September 2021
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1632:on 2017-01-23
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