Chicago Tribune on Liz Gerring's Horizon, April 2017
...the jewel of the piece is a rectangular light box hovering above the stage (production design by Robert Wierzel with assistant Amith Chandrashaker). The floating, illuminated ceiling, plus a white marley floor and cyclorama hug the performers within a cube of color...
NYTimes reviews Liz Gerring's 'Duet' on Ashley Bouder Project, March 2017
...her “Duet” was the evening’s most remarkable and most experimental piece, and Ms. Webber’s score, sometimes abrasive, showed a kindred spirit.
NYTimes reviews (T)here to (T)here at Baryshnikov Arts Center, December 2016
...last to arrive is Ms. Gerring,
who hasn’t appeared in one of her works in years. It’s fascinating to
see her as the source of her style, an original blend of athleticism and
formality that might be labeled “Merce Cunningham Goes to the Gym.” And
yet when Ms. Westby does the same steps, they seem equally made for
her, a unique expression of her personality. The interrelation between
choreographer and dancer is another compellingly changeable one.
NYTimes reviews Horizon at Montclair State University, December 2015
No other American choreographer alive just now is making movement that so marvelously cleanses the palate the way Liz Gerring’s does. Her hourlong work “Horizon” had its premiere last week at the Alexander Kasser Theater at Montclair State University as part of the Peak Performances series here, and its mix of purity and athleticism is strong, clean, bold and exciting. It fluently combines modern technique with a postmodern and quasi-analytical scrutiny of pedestrians and athletes. But the mind that shapes the choreography is warmly modernist: scientific but also passionately and infectiously in love with movement..
New Jersey Arts reviews Horizon
Gerring analyzes situations steely-eyed and moves quickly to deploy her forces. Her invigorating new piece “Horizon,” which the Liz Gerring Dance Company unveiled at Montclair State University’s Alexander Kasser Theater last week, is a dance for heroes.
Boston Globe review: glacier Is A Marvel At Jacob's Pillow, August 2015
...a marvel of construction and deconstruction, of simplicity and complexity, of morphing dynamics.
NYTimes reviews glacier at The Joyce Theater, April 2015
“Glacier” has a quite different impact at the Joyce Theater, where I watched it on Tuesday. Aspects of the dance have certainly changed, not least its use of peripheral space and parts of its music, but both times I found it marvelous. What you see is what you get. This is not choreography that turns into poetic images, metaphors, stories, anything other than itself. Yet at times it’s wild, cold, amusing, surprising, impetuous.
From a Fount of Grief, Endless Invention
The Martha Graham Dance Company in 2015 commssion four new 'Lamentation Variations' on Graham's iconic solo Lamentation.
“Liz Gerring is a cool abstractionist whose athletic, informal-looking pieces shun Graham-like drama."
glacier nominated for 2014 Bessie Award - Best Production
The Dance Enthusiast talks with 2014 Bessie Award Nominee Liz Gerring.
The Wall Street Journal spoke with Liz Gerring and other "New York taste makers" on the 2014 cultural season in March of 2014.
glacier in NY Times Top Ten Dance Works of 2013
4. ‘Glacier’ The singular authority of Liz Gerring’s choreography is evident in the very particular nature of her dancers’ body language, paradoxically galvanized and relaxed at the same time and informally precise. Her “Glacier” had its world premiere in Montclair in September; its moods change like weather, and its fascinatingly analytical temperament — scrutinizing both athletic and pedestrian movement — discloses multiple aspects of wit and passion.
glacier at Montclair State University, September 2013
“glacier,” an enthralling and important new dance work lasting 60 minutes, by the choreographer Liz Gerring, abounds in arresting contradictions. The dancers look relaxed and galvanized. They hurl themselves into impetuous slides, skim across the stage in nimble footwork, push their way urgently backward on all fours, shimmer in turning or bobbing jumps — and yet, amid the formal structures, always keep an informal quality, never letting the steps acquire any veneer of academicism. Steps look natural, athletic and exploratory — even when they then come around a second or third time with other dancers. The work has wit without quirkiness, passion without emotionalism: its moods change like the weather, and its ebbs and flows carry aspects of poetry and excitement."
- Brian Seibert of the New York Times interviews Liz Gerring prior to the premiere of glacier September 18, 2013
at 92Y Harkness Dance Festival 2013
“I marveled at the elasticity of their spines, but never as an effect in itself. The way those torsos bend, hugely, while they’re doing lower-body movement is breathtaking. Running backward has occurred in plenty of modern dance for decades. Here you look at it as if for the first time because of the precise spring of each step, the easy way the torso contains the impulse of the movement and the dynamic continuity of the sequence as a single phrase.”
"Watching Gerring demonstrate her movement during the evening’s introductory half offered the clearest window into her vocabulary and worldview. As she moved diagonally across the stage, collapsing frog-like on the floor with her arms outstretched, her rangy frame embodied the elements of the energy and form she sought to show..."
at Jacob's Pillow 2012
"Gerring’s sense of form holds the vigorous, even break-neck actions in
control and reveals the dancers as the splendid athletes that they are
in a human-scale terrain that’s as challenging as any balance beam."
World Premiere at Baryshnikov Arts Center 2011
“The amalgam of formality and informality, of technique and rawness (sometimes wildness) in the work of the choreographer Liz Gerring is something rare. Her six dancers, all attractive, look purpose-bred. The intensity with which they all use their backs is particularly impressive, as is the accentuation they bring to very simple steps. Yet they look neither homogenized nor groomed. Though the way any one of them raises a limb often looks wholly unschooled, you later realize that each moves the very same way the next time, and that so do the others. What looked naïve proves to be precise.
…a beautifully poetic stream of video imagery by Willy Le Maitre as décor; individualized dimly blue costumes by Jillian Lewis; and a score by Michael J. Schumacher that, like Mr. Le Maitre’s video projections, covers a wide range of subjects and moods. Carolyn Wong’s lighting is marvelous…”
"Liz Gerring’s she dreams in code began with enough velocity to lift even the most drained viewer out of a stupor, but it was the choreographer’s nimble and wise way with structure that kept us absorbed.
…She Dreams in Code achieves the farthest reach. It was hard not to feel an ache of recognition each time a pattern came into sharpest focus only as it was disappearing into something else."
"Gerring relishes full-out movement and athleticism. Several strong motifs recurred, including an arabesque on a bent leg, torso tipped forward with one arm overhead, to form one long swooping line. It was not only the elongation of the body that was intriguing, but how the foot was stretched almost to its fullest, stopping just short of pointed toes. There was a freedom in those toes, seen in the hands as well, that encapsulated Gerring’s style—fully extended and modern."
One thing that makes Gerring’s choreography so memorable is that she explores the possibilities of her thoughtfully designed phrases – archetypal outlines, attacked with force and headlong, risky momentum – before introducing new material. She brings one kinetic conversation to a conclusion, as it were, before broaching another topic. That gives her dances the expressive power and cohesiveness that’s missing from so much current modern dance...
Gerring’s movement choices positively revivify the modern dance lexicon with a freshness borne of expressive commitment, not acrobatic sensationalism. Although she maintains a fairly low profile, Gerring is one of those dance makers that connoisseurs appreciate and the general public should get to know better…
New York Times Best of 2010
“Mulling over the dances of 2010 my mind flies first to three modern-dance works I saw this spring, all by female choreographers. In March, at the Baryshnikov Arts Center the choreographer Liz Gerring presented the premiere of Lichtung/Clearing. I watched this twice; both occasions showed powerfully the world she had created onstage. Was it a wildlife study? Was it a psychodrama? Possibly both. Arresting from the outset was the seven dancers’ blend of precision and wild looseness. The entire physique of each performer looked intensely motivated.”
—Alastair Macaulay, New York Times, December 2010
Lichtung/Clearing - 2010
‘You watch “Lichtung/Clearing” much as you do Cunningham’s “RainForest” (1968): a drama where the feral, the primitive and the civilized all interconnect. Steps keep dissolving into through-the-body gestures, and every part of the physique is given a fresh inflection. There are other choreographers from whom Ms. Gerring has learned, notably Trisha Brown (those peripheries!). But Ms. Gerring seems unencumbered by any such debts. Her immediacy is her own; “Lichtung/Clearing”, which I recall as both psychodrama and zoological reportage, is a major achievement.’
—Alastair Macaulay, New York Times, March 2010
Montauk - 2009
“The choreographer’s unerring intelligence at organizing her powerful movement motifs is palpable. Strong, linear geometric patterns in space organize rhythmic foot patterns that have the buoyant lilt of folk dance. Simple, unmannered movement masks its technical challenge, but galvanizes the dancers’ concentration and energizes their unaffected dancing.”
–Gus Solomons Jr, Gay City News
“an unabashedly abstract piece of choreography. abstraction is so central to the logic of this work that it’s impossible to take for granted.”
—Alison D'Amato, The Dance Insider
“Gerring and Barr’s collaboration explores the intriguing border between the everyday and the unusual.”
–Deborah Jowitt, The Village Voice
Yield - 2003
“a surfeit of exhilarating creature precision and morphing spectacle.
–Alan Lockwood, The Brooklyn Rail