Anna Marie Shogren
Anna Marie Shogren is a dance artist whose continuing body of work centers around caregiving and the use of dance and touch therein. A current resident at the Weisman Art Museums Target Collaborative Studios Residency, working in collaboration with the University of MN School of Nursing.
Based in Brooklyn for many years and residing in Minneapolis, her dances have been seen at Weisman Art Museum, Northern Spark, Danspace, Movment Research at Judson Church, DNA, AUNTS, Catch!, Radical Recess, Dixon Place, Gowanus Ballroom, St. Cecilia’s Convent, Marin Headlands, Walker Art Center,SouthernTheater,Red EyeTheater,Bryant Lake Bowl Theater. Installation work has been shown at Center for Contemporary Art Sacramento, Thomas Hunter Project Space at Hunter College, 594 Loft, Fowler Art Collective, and the Flux Factory. She has performed with the Body Cartography Project,Yanira Castro, Hijack, Morgan Thorson, Karen Sherman, Cynthia Stephens, Faye Driscoll, Megan Byrne, Justin Jones, Laurie Van Wieren, Chris Schlichting, and others.
Shogren recieved a BFA in dance from the University of Minnesota and is always contemplating academia vs. self/socially guided learning as ongoing art piece or praactice. She has worked in senior care (PCA, CNA, therapy-based movement) and as a caregivier to individuals with dementia, autism, and delevopmental delays.
In 2010 she received a fellowship for a residency in Skagastrond, Iceland at the Nes Artist Residency. She was voted the 2008 City Pages Dancer of the Year. She was part of the Brooklyn based art collective, Non Solo, whose work has been presented many places around NY, and throughout the West Coast. She has written on performance and art for MNartists.org, Good Job, Relay Relay, Thomas Hunter Project Space at Hunter College, InDigest, Critical Correspondence, and NY Arts Magazine.
As a thinker committed to social organization and visual composition, I have long been attracted to the line dividing dance and visual art. My dances fall towards structurally avant guard, sculptural, experiential, while installation work, reversely, stays near to a physical, bodily cusp.
The work I am pursuing is both conceptual and folk, or rather, postfolk; the process aims to infuse an atmosphere with a set of socially oriented ideas, though made from the detailed, organic, and often improvisational material of folk arts. I work from a desire to reintegrate function with dance as both a medium and a communal experience, focusing on the current human hunger for liveness and corporeal exchange. Now is a time when bodily happenings and kinesthetic information are finding a renewed contemporary uniqueness and dependability.
My work features observation, placing emphasis on details that may otherwise be overlooked. Often in a quiet shade of energy and at a pace where one can key into ones surroundings, the intention is to offer the audience opportunity for introspection and notice the softly offered motives of the work. Easing the understanding of one’s own vessel, and subsequently others’.