Sculptor/Creative Director/Set Designer
Bjorn G. Amelan was the partner of the late fashion designer Patrick Kelly from 1983 until Mr. Kelly passed away on January 1, 1990. Mr. Amelan moved to the United States to begin his collaboration with Bill T. Jones in 1993. He has designed sets for the following works by Bill T. Jones: Green and Blue(1997) for the Lyon Opera Ballet; How! Do! We! Do! (1999) for Bill T. Jones and Jessye Norman, in conjunction with the Lincoln Center's Great Performers New Visions series; We Set Out Early... Visibility Was Poor (1997), The Breathing Show (1999), You Walk?(2000), The Table Project (2001), AnotherEvening (2002), Verbum (2002),WorldWithout/In (2002), Black Suzanne (2002), Reading, Mercy and The Artificial Nigger(2003), Mercy 10 x 8 on a Circle (2003), Chaconne (2003), and Blind Date (2005) for the Bill T. Jones/Arnie Zane Dance Company. Mr. Amelan is the recipient of a 2001 "Bessie" for his designs of The Breathing Show and The Table Project.
View samples of Bjorn G. Amelan's sculpture here.
Associate Artistic Director
Janet Wong was born in Hong Kong and trained in Hong Kong and London. Upon graduation she joined the Berlin Ballet where she first met Bill when he was invited to choreograph on the company. In 1993, she moved to New York to pursue other interests. Ms. Wong became rehearsal director of the company in 1996 and associate artistic director in August 2006.
Sam Crawford completed degrees in English and Audio Technology at Indiana University in 2003. A move to New York City led him to Looking Glass Studios where he worked on film projects with Philip Glass and Björk. His recent sound designs and compositions have included works for the Bill T. Jones/Arnie Zane Dance Company (Venice Biennale, 2010), Kyle Abraham / Abraham.In.Motion (Pavement, 2012), and David Dorfman Dance (BAM's Next Wave Festival, 2013). He currently holds positions as both Sound Supervisor for the Bill T. Jones/Arnie Zane Dance Company and Music Director for David Dorfman Dance. He also plays lap steel and banjo in various groups, including Bowery Boy Blue (Brooklyn) and Corpus Christi (Rome).
Liz Prince has designed costumes for over twenty five years. She has had the pleasure of working with Bill T. Jones since 1990. Her costumes have been exhibited at: The New York Public Library for the Performing Arts, Cleveland Center for Contemporary Art, Snug Harbor Cultural Center and Rockland Center for the Arts. She received a 1990 New York Dance and Performance "Bessie" Award and a 2008 Charles Flint Kellogg Arts and Letters Award from Bard College.
Robert Wierzel has collaborated with Bill T. Jones and Bill T. Jones/Arnie Zane Dance Company for over 28 years, on most works created from 1985 to the present. In addition, Robert has designed other projects with Mr. Jones including Dream on Monkey Mountain at The Guthrie Theater; as well as productions with the Boston Lyric Opera; Lyon Opera Ballet; the Welsh Dance company, Diversions; London's Contemporary Dance Trust and the Deutsche Opera Berlin. Mr. Wierzel is the recipient of a New York Dance and Performance "Bessie" Award for Sustained Achievement in Lighting Design for his work with the Company. Additionally, Robert has worked with many of the leading opera and theatre companies in the country including The New York City Opera; BAM; Lincoln Center; Glimmerglass Festival; Seattle Opera; Lyric Opera of Chicago; Minnesota Opera; San Francisco Opera; A.C.T; Goodman Theatre/Chicago; Mark Taper Fourm/LA; Alliance Theatre Company/ Atlanta; Center Stage/Baltimore; among many, many others. Broadway credits include Lady Day at Emerson's Bar & Grill (staring Audra McDonald); FELA! (Tony nomination; productions at the National Theatre, London, International & American Tours); David Copperfield's Broadway debut Dreams and Nightmares. Off-Broadway productions includes projects with the NYSF/Public Theatre; The Signature Theatre; The Roundabout; Playwrights Horizons, among others. Mr. Wierzel has also worked with choreographers Liz Gerring, Andrea Miller, Doug Varone; Heidi Latsky; Larry Goldhuber; Sean Curran; Molissa Fenely; Donna Uchizono; Alonzo King; Charlie Moulton; Arthur Aviles; Margo Sappington; J. Fregalette-Jansen; Alvin Ailey American Dance Theatre and the Trisha Brown Dance Company. Mr. Wierzel is currently an adjunct faculty member of NYU's Tisch School Of the Arts and a Visiting Lecturer at the Yale School Of Drama.
Associate Scenic Designer
Weisbard is Brooklyn-based and Oregon-born. Since 2006, he’s created various projects with Bill T. Jones / Arnie Zane Dance Company, most recently Story/Time, Fondly Do We Hope...Fervently Do We Pray, and 100 Migrations. Other lighting designs: Rite of Spring(Martha Graham); The Soldier's Tale (with Michael Cerveris at Yale / Carnegie Hall);Stones in his Pockets (Yale Rep); Macbeth (Arden); Luis Alfaro’s Delano (Magic); Men on Boats (Clubbed Thumb); The Coronation of Poppea (Princeton Opera); The Film Society(Keen / Theatre Row); Cedars, Lion in Winter, A Class Act (Berkshire Theatre Festival);Christina Anderson's Hollow Roots (Public Theatre / Under the Radar); Faust, The Barber of Seville (Tri-Cities Opera). Numerous sound, light, and movement works with rising and established composers, choreographers and theatre-makers. MFA: Yale School of Drama. Member: United Scenic Artists Local 829. www.solweisbard.com
is a composer, cultural producer, and vocalist. His opera collaboration with artist Shana Moulton, Whispering Pines 10, has been presented at The Kitchen, The New Museum of Contemporary Art, SFMOMA, Portland Institute of Contemporary Art's TBA Festival, The Warhol Museum, Carolina Performing Arts at UNC Chapel Hill, and is currently being adapted for the Internet. Since 2007, Hallett has served as the music director of the Joshua Light Show, a team of projection artists with roots in the psychedelic movement of the 1960s, which appears internationally, including fulldome presentations at the American Museum of Natural History's Hayden Planetarium and Mutek Mexico that feature Hallett's original soundscores. Hallett held the first Re:New Re:Play artist residency at the New Museum of Contemporary Art in May 2009, creating a four-part series focusing on the voice as artistic medium, and his work was featured in the 2007 and 2009 PERFORMA biennials. As a vocalist, Hallett has sung in operas by Anthony Braxton and Susie Ibarra, and has staged adventurous interpretations of music by Meredith Monk and Karlheinz Stockhausen. From 2000-2003, he led the band Plantains, generating a catalog of over 100 original songs, which continue to be reinterpreted by cabaret artists as Justin Vivian Bond and Lady Rizo.
Ted Coffey makes acoustic and electronic chamber music, interactive installations, and songs. His work has been presented in concerts and festivals across North America, Europe and Asia, at such venues as Judson Church, The Knitting Factory, Symphony Space, and Lincoln Center (NYC), The Lab, New Langton Arts and Yerba Buena Center for the Arts (SF), the Korean National University of the Arts (Seoul), The Loos Foundation (The Hague), and ZKM (Karlsruhe, Germany). Coffey’s electroacoustic composition has been featured at ICMC (2004, 2005, 2006), SEAMUS (2001, 2009, 2010, 2011), the Spark Festival (2009), the Third Practice Festival (2005, 2008, 2009), and the New York City Electroacoustic Music Festival (2010), among others. In Open Space, Newton Armstrong described Coffey’s music as “subtle, weird and devoid of heroics. It’s the kind of music that resonates for days after you’ve heard it, and its spaces and gestures continue to form into new and extraordinary geometries.” His writings on the aesthetics and social politics of transmissive networks in the arts have been honored with significant awards from the Josephine De Kármán and Andrew C. Mellon Foundations. Coffey studied composition with Jon Appleton, Christian Wolff, Pauline Oliveros, Paul Lansky, and others, earning degrees at Dartmouth (AB), Mills College (MFA) and Princeton (MFA, PhD). He is currently an Associate Professor at the University of Virginia, where he teaches courses in composition, music technologies, critical theory, and pop. This is Coffey's first collaboration with the Bill T. Jones/Arnie Zane Dance Company.