No Vanity Project: At Art Center, Baryshnikov Tells Artists, 'You're The Boss' You'd think the sign in front of dancer Mikhail Baryshnikov's arts center would have his name in lights — but actually, you can barely see it. He says what happens inside is way more important.

No Vanity Project: At Art Center, Baryshnikov Tells Artists, 'You're The Boss'

  • Download
  • <iframe src="" width="100%" height="290" frameborder="0" scrolling="no" title="NPR embedded audio player">
  • Transcript


Mikhail Baryshnikov is one of the greatest ballet dancers in history. He's also an adventurous theater artist and a movie star. And even after all that, Baryshnikov is still creating all kinds of art. And tonight in New York, there is a gala celebrating the 10th anniversary of the Baryshnikov Arts Center, the place he founded to give other artists space and freedom to work. Here's NPR's Elizabeth Blair.

ELIZABETH BLAIR, BYLINE: Mikhail Baryshnikov captivated audiences around the world as a dancer.


BLAIR: He was artistic director of American Ballet Theater, performed on Broadway, starred in movies like "White Nights" and "The Turning Point."


MIKHAIL BARYSHNIKOV: (As Yuri) A little faster.

BLAIR: He once did an entire show dancing to his own heartbeat.


BLAIR: He's done avant-garde theater and "Sex And The City."


BARYSHNIKOV: (As Aleksandr Petrovsky) And who are you?

SARAH JESSICA PARKER: (As Carrie Bradshaw) What do you mean?

BARYSHNIKOV: (As Aleksandr Petrovsky) Your name?

PARKER: (As Carrie Bradshaw) Oh, I'm Carrie Bradshaw.

BARYSHNIKOV: (As Aleksandr Petrovsky) You are a comic?

BLAIR: Huge career, international star, so you'd think the sign out front for the arts center that bears his name would have Baryshnikov in lights. In fact, you can barely see it.

GEORGIANA PICKETT: Misha didn't want this place to be called the Baryshnikov Arts Center.

BLAIR: Georgiana Pickett is executive director of the Baryshnikov Arts Center.

PICKETT: He wanted it to be more global. And some wise people told him, that's not a good idea (laughter). Let's put your name on it.

BLAIR: Baryshnikov's idea was to build a place where artists from different disciplines would come together. He had no interest in it being dance only.

BARYSHNIKOV: Another dance company, really, we are packed.

BLAIR: He wanted to give artists space and light and privacy, things that he says are so important to the creative process.

BARYSHNIKOV: Art-making is not a factory - you know, with a few exceptions, of course, like Jeff Koons or Andy Warhol. It's a very slow and very fragile process. And it took me 25, 30 years to really understand what actually it takes.

BLAIR: To establish the center, Baryshnikov put up a million dollars of his own money. With help from a small group of donors, he bought a portion of a six-story building in New York's Hell's Kitchen neighborhood. After extensive renovations, today there are two state-of-the-art theaters and four studios. For artists lucky enough to get a residency, it's nirvana.


SOMI: (Singing, unintelligible).

BLAIR: The vocalist and songwriter Somi has been given space free of charge to do whatever she wants.


SOMI: (Singing, unintelligible).

BLAIR: This light-filled studio overlooking the Hudson River inspires her.

SOMI: This is such a glorious space because you've got these high windows. And you're surrounded by the city. And being in the middle of New York - right? - it's like you're in the middle of possibility.

BLAIR: But possibility in the middle of New York is expensive. Most artists can't afford to live in the city. Again, executive director Georgiana Pickett.

PICKETT: It's one of the reasons we exist. You know, New York is experiencing a hemorrhaging of its cultural capital. You know, people are leaving. They can't do it anymore.


BLAIR: Downstairs in the main theater, choreographer John Heginbotham is rehearsing a piece with his new dance company. And he's stuck.

JOHN HEGINBOTHAM: I don't know. I don't know. I don't know.

BLAIR: When Baryshnikov stops by, he can't resist asking him for help.


BARYSHNIKOV: You're the boss.


BLAIR: Heginbotham says this artistic laboratory is really a gift from Baryshnikov to other artists.

HEGINBOTHAM: He could have just been a great ballet dancer. But he's such a curious and investigative person that he has taken that and put it into creating work and helping other people create work. He betters himself all the time, and he encourages us to do that too.

BLAIR: And Baryshnikov wants that to happen well into the future. The center generates income by renting space, selling tickets to performances in its two theaters and fundraising. Some of its biggest donors have long relations with Baryshnikov. The history of arts organizations so closely linked to one person is spotty, says Rebecca Thomas, a consultant to arts nonprofits. Martha Graham's and Alvin Ailey's companies both struggled to adapt after their deaths.

REBECCA THOMAS: When we oftentimes see challenges is when that particular leader moves on for whatever reason because sometimes, the donors and the board members do too.

BLAIR: Georgiana Pickett says she and the center's staff think about that all the time.

PICKETT: We are trying to build something here that's going to last without Misha. You know, it is his vision, and it is his legacy. But he's not going to live forever. None of us are. And so we're trying to build something here that's going to last.

BLAIR: At 67, Baryshnikov is still plenty active. He just made a stylish ad for a fashion designer, turning and curving his body with street dancer Lil Buck.


BLAIR: And he's performing a solo theater piece based on the writings of the Russian dancer Nijinsky. He admits he's always been restless.

BARYSHNIKOV: I am really afraid to get bored with myself. Unknown, it's always much more intriguing and appealing than - like new dish in a restaurant you should never taste or a new music composition, you know, and a new film and new book. It's so much more interesting than go back to the square one and there's - sometimes it's nice to go back, you know? But I'd rather look forward.

BLAIR: Maybe Mikhail Baryshnikov was right about not wanting the center he founded 10 years ago to bear his name. As he puts it, what happens inside the space, that fragile art-making process, is much more important. Elizabeth Blair, NPR News.

Copyright © 2015 NPR. All rights reserved. Visit our website terms of use and permissions pages at for further information.

NPR transcripts are created on a rush deadline by Verb8tm, Inc., an NPR contractor, and produced using a proprietary transcription process developed with NPR. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR’s programming is the audio record.