Color photographs show Baryshnikov dancing various roles in ballets by George Balanchine, Twyla Tharp, Jerome Robbins, and others, and are accompanied by the dancer's comments
Soviet-born choreographer Mikhail Nikolayevich Baryshnikov performed with the Kirov in Leningrad, afterward defected to the United States in 1974, later directed the American ballet theater, and helped to found the white oak dance project, a modern company, in 1990.
People often cite Mikhail Nikolaevich Baryshnikov, a Russian actor, alongside Vaslav Nijinsky and Rudolf Nureyev, the greatest of the 20th century. From a promising start, he went to Canada in 1974 for more opportunities in west. Freelancing, he joined the city of New York as a principal to learn style of movement of George Balanchine. He then moved to art also in New York.
Baryshnikov spearheaded his many own arts, associated, and in particular promoted and premiered his own many dozens of new works. He, probably the most widely recognized contemporary, succeeded as a dramatic actor on stage, cinema, and television.
From 1990 to 2002, Baryshnikov with Mark Morris desired “a driving force in the production of art” and indeed expanded the repertoire and visibility.
In 2005, he opened the Baryshnikov arts center, a creative local and international home to develop and present work.
This could be considered a 'poster book' -- one large photo per page in this over-sized trade. Each picture captures a unique moment of Misha in the middle of a dance (with one or two pictures of him in more private moments -- at the beach or with his dog).
The pictures aren't all in sharpest focus, but they do manage to capture the strength and grace of Baryshnikov. If you're a fan of the man, this is a book for you. If you are looking to study ballet, this won't help you much.
[These notes were made in 2004.] You open this unconventional book and are plunged straight into pictures of Baryshnikov's work in 1974 and 1975: the title page and introduction do not turn up until 60 pages later! Acocella wrote the introductory essay, but this is a picture book par excellence, using photos by more than a dozen photographers, but relying heavily on the work of Nina Alovert. The arrangement, as I suggest, is chronological, and there is no text amongst the photos save the very unobtrusive photo captions in the corners. A wonderful browse that takes us right through Baryshnikov's lengthy and varied career; partners and choreographers are also occasionally captured in the performance and rehearsal shots. The book is apparently based on a Russian/English volume, Unknown Baryshnikov, produced by Valery Golovitser.