first work was titled cup/saucer/two dancers/radio, and featured him and Phoebe Neville. Cup/saucer/two dancers/radio incorporated these experimentations with multimedia and was heavily influenced by the subject matter of pop art. King went on to present numerous works at a number of theaters including, The Bridge Theatre, Judson Memorial Church (in association with the Judson Dance Theater and the Judson group), the Gate Theatre, Clark Center for the Performing Arts, The New School, and Washington Square Galleries. Collaborations King collaborated with a number of artists throughout the 1960s and 1970s. Before his dance career took off, King worked with filmmakers Andy Warhol, Gregory Markopoulos and Jonas Mekas in the early 1960s. Some major works include m-o-o-n-b-r-a-i-n with SuperLecture (1966) and PRINT-OUT (1967). Both of these works incorporate film and projections with dance. In addition to his cup/saucer/two dancers/radio partner, Phoebe Neville, some of his colleagues included Meredith Monk, Gus Solomons Jr., Elizabeth Keen, Cliff Keuter, Steve Paxton, Laura Dean, Yvonne Rainer and Twyla Tharp. Philosophy King's experimental dance repertoire is varied, combining a broad range of performance styles, theoretical and dramatic material and technological resources. He believes that dance doesn't necessarily require the performance of traditional technique. In a 1978 interview conducted by John Howell for the Performing Arts Journal, Howell asked King why his then recent choreographies, RAdeoA.C.tiv(ID)ty, DANCE S(P)ELL, and The Telaxic Synapsulator, performed at the Brooklyn Academy of Music contained more technical dancing in comparison to some of his older pieces. King replied, “ … in the dance field there are all kinds of ways bodies make signals, or signs.” He states that this is one of the reasons why he is so fond of dance. References 1948 births Living people American male dancers People from Freeport, New York American choreographers