Martha Graham in Love and War: The Life in the Work
Mark Franko
I take on Amy Koritz''s challenge to discuss Graham in terms of popular culture for the aim of Graham''s image, which was widely disseminated in that decade, was to reach the broadest public possible.10 “Graham was ... engaged in an inherently mixed endeavor,” writes Koritz, “—producing both a commodity offered for consumption by her audiences and a ''pure'' aesthetic object.”11 This statement makes sense when one thinks of the commodity not as the live dance, but as the image.