Dean Moss


Doris Duke Impact Award, 2014
Theatre

New York, NY

Dean Moss is a dance-based, multidisciplinary theatremaker, media artist, curator, and lecturer. As founding artistic director of Brooklyn-based Gametophyte Inc., Moss’s current research investigates perceptions of self and other through transcultural, multimedia performance collaborations often incorporating audience participation. His recent work johnbrown (2014) explored the legacy of the white abolitionist casting five teenaged women of color as production assistants alongside the six performers that included the artist. He has received MAP Fund grants, NEFA National Dance Project grants, and a Guggenheim Fellowship (2014). Moss danced with David Gordon for ten years and has had a long relationship with The Kitchen—serving as the Curator of Dance and Performance from 1999-2004, then as a Curatorial Advisor through 2009. Currently, Moss is founding a yearly, non-monetary mentoring award for experimental dance/performance makers in NYC called THE AWARD.

  • Photo Credit: Tim Trumble/ASU
  • Dean Moss- johnbrown (2014): http://vimeo.com/148409016
    johnbrown (2014)
  • Dean Moss- Nameless forest (2011): http://vimeo.com/26143058
    Nameless forest (2011)
  • Photo Credit: Hyangsuk Choi
    Nameless forest (2011)
  • Dean Moss- Kisaeng becomes you (2009): http://vimeo.com/26199127
    Kisaeng becomes you (2009)
  • Photo Credit: Dean Moss
    Kisaeng becomes you (2009)
  • Dean Moss- figures on a field (2005): http://vimeo.com/26234461
    figures on a field (2005)
  • Photo Credit: Dean Moss
    figures on a field (2005)

Artistically, what do you do & why do you do it?

I make movement-based performance and media works that investigate relationships between self and other, often incorporating collaboration and audience participation.

I make these works as a conjuring, an attempt to manipulate experience and the world. I believe art making is the most precise and comprehensive way to engage an existential dialogue, and that performance, particularly movement-based—for its unmediated capacity for body/presence articulation—is the most accommodating container for that dialogue’s expression.

Additionally I consider performance to be the riskiest of art forms. Being the closest to living life, it has the highest potential for humiliation but also bliss: which is why I do it.