185:. That piece became the catalyst for an ongoing group of works that Carlson referred to as the "Real People series", works made with and performed by people gathered together around common professions, activities or shared relationships. This body of work, described as "delegated performance", became the foundation for much of Carlson's later choreography. The work "Sloss, Kerr, Rosenberg & Moore" (or "the lawyer piece") was performed by four (actual) New York attorneys. Carlson's second evening-length work, "Animals", debuted at Dance Theater Workshop in 1988 and toured throughout the U.S. into the mid-1990s. Carlson choreographed the opera "Kabballah" to music
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Award in 1988, a prestigious three year choreographic award from the
National Endowment for the Arts, 1989–1991, the CalArts Alpert Award in Dance in 1995, and the Foundation for Contemporary Arts Grants to Artists Award in 1998, A New York Foundation for the Arts Fellowship in 2000, a Guggenheim
244:. Internationally her work has been performed in West Germany, Prague and Mexico City. From 1990 until 2010 Carlson collaborated with video maker Mary Ellen Strom on a number of performances and performance videos. These videos are held in collections in museums and private collections.
149:. Because of her broad view of dance, Carlson often tackles important issues in her work and works within a number of disciplines to respond to ideas, concepts and themes. As a result, Carlson takes her work far beyond the confines of traditional "dance" into a realm that could be called
181:. She was an original member of the PS 122 Field Trip Tours, a group of solo performance artists and choreographers that toured their works throughout the United States in the late 1980s. Ms. Carlson presented her first evening-length work, "Real People", in 1986 at
289:, and, most notably, a real live dog. Other animals are later featured, including a goldfish, a cat and a goat. Carlson said she wanted "to make works that could respond to a living being, that I couldn’t choreograph in the way that I’d been taught to choreograph".
209:" was staged by Ann Carlson in June 1990. A 2017 work by the artist entitled "Doggie Hamlet," which included "five performers, three herding dogs, a dog handler, a dog trainer and a flock of sheep," was performed in a meadow at dusk.
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training as a child, she defined dance as "any conscious movement in time and space". Carlson came to this conclusion when she was 12 years old after attending a lecture and demonstration by
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Some critics refer to
Carlson’s work as dance-theater and some refer to it as talking dancing. Her work often incorporates different movement components, speaking or acting components, and
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Radcliffe Institute for Advanced Studies at Harvard University in 2004, a USA Artist Fellowship in 2008, an American Master's Award in 2010, and a
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Carlson’s choreography has earned her a New York Dance and
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represents all these areas of
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Tobias, Tobi. "Dance Review: Ann
Carlson Is Her Own Kind of Down-to-earth."
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Harris, William. "DANCE; On a Tour of
Tableaus, You Move, They Don't."
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of this piece includes a straight chair, a television set, a
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in 1976. In 1983 she became one of the first students of the
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