Late in 2007, I went repeatedly to Tate Modern’s exhibition The World as a Stage, primarily to see one small black-and-white photograph – or, rather, a series of 31 small black-and-white photographs presented one at a time and, as per the artist’s instructions, rotated daily: Trisha Donnelly’s The Redwood and the Raven (2004). The experience of this staggered, witchy display, which documents the headscarf-wearing dancer Frances Flannery performing, against a tree in a forest, a dance called ‘The Raven’, choreographed…
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