Jon Kinzel has presented his work, including numerous commissions and solo shows, in a variety of national and international venues. His critically praised solo Responsible Ballet (2009) premiered at the La MaMa Moves Festival followed by, Responsible Ballet and What We Need Is a Bench to Put Books On (2010), a multigenerational ensemble piece produced by The Kitchen and completed with a Movement Research Artist In Residence grant (2009-2011), and a Martha Duffy Memorial Fellowship at the Baryshnikov Arts Center (2009-10); Someone Once Called Me A Sound Man (2013) at The Chocolate Factory (received Best of 2013 in Artforum); hurry (2013) at Danspace Project, co-created with Jean Butler; The Generalist (2013) at the Dublin Dance Festival; Provision Provision (2015) at La MaMa; COWHAND CON MAN (2015) at Gibney Dance/Agnes Varis Performing Arts Center; Atlantic Terminus (2016) at The Invisible Dog; and a collaboration with Tillett Lighting Design and OHNY. He has received support from the Harkness, Puffin, and Mertz Gilmore foundations, and was given The 2012 Artist Award from the Brooklyn Arts Exchange. Recent residencies include Gibney Dance Center, The Yard, and New York Live Arts. He curated DoublePlus in 2014 and the Movement Research Festival in 2010, and, his visual art has been featured in publications such as SCHIZM Magazine and the MR Performance Journal. He was a Movement Dramaturg for John Kelly’s Time No Line (2016), and Patricia Hoffbauer’s Getting Away with Murder (2017). As a director, collaborator, improvisor, and or performer he’s worked with Jodi Melnick, Vicky Shick, Cathy Weis, Jennifer Miller, Nicolas Dumit Estevez and Luis Lara Malvacias, Seline Baumgartner, Enrico Wey, Emily Coates, Jeremy Nelson, Creach/Koester, John Jasperse, Shelly Mars, Lance Gries, KJ Holmes, OtherShore Dance Co, Susan Braham, Jennifer Monson, Yoshiko Chuma, Sally Silvers, Michael Whaites, Susan Sgorbati, Keith Thompson, Cydney Wilkes, Jeanine Durning, Sandra Burton, Mike Taylor, Matthew Barney in the film series The Cremaster Cycle at the Solomon R. Guggenheim Museum, Rachid Ouramdane as a guest soloist at the Fondation Cartier pour l’Art Contemporain in Paris, Susan Rethorst in the revival of Beau Regard at Danspace Project, John Kelly in the revival of Pass the Blutwurst, Bitte, an Obie Award-winning production, and in Moondrunk presented by Lincoln Center; and with composers Vivian Stoll, Jonathan Bepler, Nora Laudani, and Jim Dawson, visual artists Bob Ajar, Neil Goldberg, Corban Walker, Jarrod Beck, and Nina Katan, and designers Cynthia Rowley, and Liz Collins. He has taught at Barnard College, New York University’s Experimental Theater Wing, Yale University, George Washington University, Amherst College, Vassar College, Emerson College, Dance House in Dublin, TsEKh in Moscow, and The Merce Cunningham Trust. He has been a frequent guest critic in both graduate and undergraduate programs at NYU’s Gallatin School of Individualized Study and ITP/Interactive Telecommunications Program. This has involved looking at how to apply computational thinking to the craft of choreography, among other cross-disciplinary queries. Currently, he is on the faculty of Lincoln Center Education, and Movement Research.
Contemporary Dance Practices, Continued