The choreographer who founded the Liz Lerman Dance Exchange, a company mixing older and younger dancers, in 1976 is now 65 herself, which feels “very strange.” In a new interview, Lerman discusses aging with Laura Hambleton.

Keeping Merce Cunningham’s legacy—and dances—alive rests with online and in-person archiving: Internet-based documentary Capsules, accompanied by live dance reconstructors, are required for any restaging bearing the late choreographer’s name.

New recipients of the Doris Duke Artist Awards have been named. Among them are artists who have shared our stage (or will), including Ping Chong, Myra Melford, Tere O’Connor, Pavol Liska, Kelly Copper, David Lang, Elizabeth Streb, Rudresh Mahanthappa, and others.

Philip Bither highlights some of Trisha Brown’s less-recognized but tremendously influential dance innovations, from aerial movement inventions to equipment-based performance.

For electronic supergroup Atoms For Peace’s new video, “Ingenue,” Radiohead frontman Thom Yorke (AFP vocalist) delves into contemporary dance, pairing with dancer Fukiko Takase. Like many a Yorke dance move, this one, too, is now available in GIF form.

Contemporary dance pioneer Trisha Brown, 76, has withdrawn from the company that bears her name, citing health concerns. The company will continue to exist, with longtime collaborators Diane Madden and Carolyn Lucas as associate artistic directors.

Just announced, Creative Capital’s 2013 project grants winners include several names from our current and most recent Walker performing arts seasons, including Kyle Abraham, Corey Dargel, Trajal Harrell, and Minneapolis’ own Emily Johnson.

“One doesn’t usually know where ideas come from,” says Jasper Johns. But he knows what inspired the set elements he made for Merce Cunningham’s Walkaround Time (part of the Walker collection): looking at a booklet featuring line drawings of Duchamp’s The Large Glass.

The best performance of 2012 was Nadia Beugré’s Quartiers Libres (performed at the Walker as part of Voices of Strength), writes Wendy Perron. Mixing “pleasure and pain, freedom and oppression,” the Cote d’Ivoire artist “shook me to my roots.”