JUDSONOW the Work Is Never Done
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Moma PRESENTS the FIRST MAJOR MUSEUM EXHIBITION to FOCUS on the JUDSON DANCE THEATER’S CROSS-DISCIPLINARY INFLUENCE
MoMA PRESENTS THE FIRST MAJOR MUSEUM EXHIBITION TO FOCUS ON THE JUDSON DANCE THEATER’S CROSS-DISCIPLINARY INFLUENCE Presentation Includes a Robust Performance Program, alongside Photography, Film, Scores, Archival Materials, and Oral Histories Judson Dance Theater: The Work Is Never Done September 16, 2018–February 3, 2019 Second-floor Collection Galleries and The Donald B. and Catherine C. Marron Atrium #JudsonDance NEW YORK, September 12, 2018—The Museum of Modern Art presents Judson Dance Theater: The Work Is Never Done, a major exhibition that looks anew at the formative moment in the 1960s when a group of choreographers, visual artists, composers, and filmmakers made use of a local church to present groundbreaking cross-disciplinary performances. Featuring celebrated dance works by Judson artists, The Work Is Never Done includes a gallery exhibition, a print publication, and an ambitious performance program in the Museum’s Donald B. and Catherine C. Marron Atrium. On view from September 16, 2018, through February 3, 2019, the exhibition highlights the group’s ethos of collaboration and the range of its participants through live performance and some 300 objects including films, photographic documentation, sculptural objects, scores, music, and archival material. Judson Dance Theater: The Work Is Never Done is organized by Ana Janevski, Curator, and Thomas J. Lax, Associate Curator, with Martha Joseph, Curatorial Assistant, Department of Media and Performance Art. Taking its name from the Judson Memorial Church, a socially engaged Protestant congregation in New York’s Greenwich Village, Judson Dance Theater was organized in 1962 as a series of open workshops from which its participants developed performances. -
Modernism 1 Modernism
Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking. -
Ii. Dialogue Program
II. DIALOGUE PROGRAM Introduction Through its Dialogue Program, PASSIA has ever since its foundation striven both to promote free expression within Palestinian society and to foster a better understanding of Palestinian affairs, be they in the domestic or international context. In doing so, PASSIA has earned a reputation for providing a unique forum for dialogue and exchange and for serving as a catalyst for civic debate. Central to these efforts has been the presentation and analysis of a plurality of Palestinian perspectives and approaches. Topics addressed and discussed cover a wide range of subjects broadly and specifically related to the Palestine Question, from historical aspects to the current Middle East Peace Process and internal Palestinian affairs. The PASSIA Dialogue Program is divided into the following three sections: Roundtable Meetings: PASSIA invites a speaker (and sometimes a discussant as well) to lecture on a certain topic, followed by a discussion with the audience present. Particularly topical issues are sometimes the subject of a series of lectures by as varied a range of speakers as possible. These meetings aim to promote thought and debate among Palestinians and between Palestinians and their foreign counterparts. Briefings: PASSIA frequently provides a venue for encounters, dialogue and discussions involving representatives and organizations from various backgrounds. These meetings focus on current Palestinian affairs and are designed to build bridges of communication and understanding between Palestinians from different streams of society and to develop constructive and focused academic contact between Palestinians and Israelis. PASSIA has also hosted numerous meetings in which resident diplomats and visiting foreign missions are invited to discuss Palestinian affairs and exchange thoughts and opinions concerning the situation in the Palestinian Territories. -
Performance and Interaction: Judson Dance Theater
Performance and Interaction: Judson Dance Theater In 1980, Arlene Croce, a respected dance critic, said in a column in the New Yorker that Robert Wilson had been the main influence, after Merce Cunningham, on the choreography of the day. Yvonne Rainer responded angrily to what she saw as lack of perspective and knowledge of modern dance in a letter published in the performance magazine Live. The letter included a genealogy chart of contemporary dance and how it related to the visual arts world, which is shown here. Simone Forti was at the Judson Dance Theater with Brown and Rainer and also made an argument for dance as sculpture with her first minimalist works. Their objec- tives included the idea of actually involving the spectator’s gaze, rejecting the concept of audience as voyeur. Bibliography Krauss, Rosalind E. Passages in Modern Sculpture. Cambridge (Mass.): MIT, 1977. Lambert, Carrie. “More or Less Minimalism: Six Notes on Performance and Visual Art in the 60s” en: Goldstein, Ann. The close, simultaneous connections between dance and the visual arts in the 1960s A Minimal Future? Art as Object and 70s can be seen both in the works of Yvonne Rainer (1934), Trisha Brown (1936) 1958-1968. Los Angeles: Museum and Simone Forti (1935), which are exhibited in the room, and in the theoretical analyses of Contemporary Art; Cambridge: presented by Barbara Rose and Rosalind Krauss about the theatrical tone of sculpture MIT Press, cop., 2004. and minimal painting. Trio A, Rainer’s choreography created in 1966 as the first part of her tetralogy The Mind Rainer, Yvonne. -
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QUp;,~,I]),ft/CE~~ Happenings audience , 1960. /<ECJtl5"-Uen/)IIS •' photo : Robert McElroy ACKNOWLEDGEMENTS Production Director: Cynthia Hedstrom Production Coordinator: M.J. Becker Production Assistants: Sarah Hyman and Heather Lee Technical Coordinator and Lighting Director: Al Be Vier Stage Manager: Randy Barbee Master Electrician: Kay Berry Sound Technician: David Solin Box Office Manager: Elizabeth Rectanus Program Design & Production: Nancy Stark Smith, Cynthia Hedstrom, Gail Copen Special thanks to the Poetry Project of St. Mark's Church, Chase Manhattan Bank, Mabou Mines, and the Contact Quarterly. This performance is being videotaped by the Jerome Robbins Archive of the Dance Collection of The New York Public Library with the cooperation of The Danspace Project and the Bennington College Judson Project. We gratefully acknowledge the assistance of the National Endowment for the Arts and the New York State Council on the Arts. All contributions to this and other activities of The Danspace Project and the Bennington College Judson Project are tax deductible and are gratefully appreciated. The Danspace Project & The Bennington College Judson Project Present PROGRAM A Thursday, Friday, April 15 & 16, 1982 Works By: EDWARD BHARTONN REMY CHARLIP -PHILIP CORNER BRIAN DEPALMA JUDITH DUNN and BILL DIXON SIMONE FORTI YVONNE RAINER ELAINE SUMMERS PROGRAMB Saturday , Sunday, April 17 & 18, 1982 Works By: LUCINDA CHILDS DEBORAH HAY AILEEN PASSLOFF STEVE PAXTON CAROLEESCHNEEMANN ELAINE SUMMERS JAMES WARING THESE PERFORMANCES ARE A BENEFIT FOR THE DANSPACE PROJECT AND THE BENNINGTON COLLEGE JUDSON PROJECT THESE PERFORMANCES WERE MADE POSSIBLE WITH THE SUPPORT OF THE CAPEZIO FOUNDATION AND THE NEW YORK COMMUNITY TRUST. DANSPACE ALSO RECEIVES SUPPORT FROM THE NATIONAL ENDOWMENT FOR THE ARTS, THE NEW YORK STATE COUNCIL ON THE ARTS, MOBIL FOUNDATION, AND CONSOLIDATED EDISON. -
What Is a Dance? in 3 Dances, Gene Friedman Attempts to Answer Just That, by Presenting Various Forms of Movement. the Film Is D
GENE FRIEDMAN 3 Dances What is a dance? In 3 Dances, Gene Friedman attempts to answer just that, by presenting various forms of movement. The film is divided into three sections: “Public” opens with a wide aerial shot of The Museum of Modern Art’s Sculpture Garden and visitors walking about; “Party,” filmed in the basement of Judson Memorial Church, features the artists Alex Hay, Deborah Hay, Robert Rauschenberg, and Steve Paxton dancing the twist and other social dances; and “Private” shows the dancer Judith Dunn warming up and rehearsing in her loft studio, accompanied by an atonal vocal score. The three “dances” encompass the range of movement employed by the artists, musicians, and choreographers associated with Judson Dance Theater. With its overlaid exposures, calibrated framing, and pairing of distinct actions, Friedman’s film captures the group’s feverish spirit. WORKSHOPS In the late 1950s and early 1960s, three educational sites were formative for the group of artists who would go on to establish Judson Dance Theater. Through inexpensive workshops and composition classes, these artists explored and developed new approaches to art making that emphasized mutual aid and art’s relationship to its surroundings. The choreographer Anna Halprin used improvisation and simple tasks to encourage her students “to deal with ourselves as people, not dancers.” Her classes took place at her home outside San Francisco, on her Dance Deck, an open-air wood platform surrounded by redwood trees that she prompted her students to use as inspiration. In New York, near Judson Memorial Church, the ballet dancer James Waring taught a class in composition that brought together different elements of a theatrical performance, much like a collage. -
Qurrat Ann Kadwani: Still Calling Her Q!
1 More Next Blog» Create Blog Sign In InfiniteBody art and creative consciousness by Eva Yaa Asantewaa Tuesday, May 6, 2014 Your Host Qurrat Ann Kadwani: Still calling her Q! Eva Yaa Asantewaa Follow View my complete profile My Pages Home About Eva Yaa Asantewaa Getting to know Eva (interview) Qurrat Ann Kadwani Eva's Tarot site (photo Bolti Studios) Interview on Tarot Talk Contact Eva Name Email * Message * Send Contribute to InfiniteBody Subscribe to IB's feed Click to subscribe to InfiniteBody RSS Get InfiniteBody by Email Talented and personable Qurrat Ann Kadwani (whose solo show, They Call Me Q!, I wrote about Email address... Submit here) is back and, I hope, every bit as "wicked smart and genuinely funny" as I observed back in September. Now she's bringing the show to the Off Broadway St. Luke's Theatre , May 19-June 4, Mondays at 7pm and Wednesdays at 8pm. THEY CALL ME Q is the story of an Indian girl growing up in the Boogie Down Bronx who gracefully seeks balance between the cultural pressures brought forth by her traditional InfiniteBody Archive parents and wanting acceptance into her new culture. Along the journey, Qurrat Ann Kadwani transforms into 13 characters that have shaped her life including her parents, ► 2015 (222) Caucasian teachers, Puerto Rican classmates, and African-American friends. Laden with ▼ 2014 (648) heart and abundant humor, THEY CALL ME Q speaks to the universal search for identity ► December (55) experienced by immigrants of all nationalities. ► November (55) Program, schedule and ticket information ► October (56) ► September (42) St. -
Simone Forti Goes to the Zoo*
Simone Forti with a lion cub at the Giardino Zoologico di Roma, 1968. Courtesy Simone Forti and The Box, LA. Simone Forti Goes to the Zoo* JULIA BRYAN-WILSON In the photograph, a young woman in a short skirt and sandals sits on a bench. With her crooked elbow, she braces her handbag to her body, tucking her large sketchpad into her armpit. She is petting a lion cub, and as she gazes down to witness the small but extraordinary fact of her hand on its fur, the ani- mal’s face turns towards the camera lens with closed eyes. This is dancer and choreographer Simone Forti on one of her many visits to the zoo during the brief time she lived in Rome in the late 1960s. Far from today’s “wildlife sanctu- aries” where animals can ostensibly wander freely, as the photo of this uncaged cub might suggest, the Giardino Zoologico di Roma offered a highly controlled environment in which animals lived within tight enclosures; Forti was here indulging in a staged, paid encounter, one that she characterized as “irre- sistible.”1 Irresistible because she was consistently moved by the creatures she drew and studied—moved as in stirred, or touched, as well as in shifted, or altered. As I argue, her dance practice changed dramatically as a result of the time she spent in Rome observing animal motions and interacting with other, animate forms of art. Petting a lion cub: irresistible, but still melancholy. Designed in part by German collector and merchant Carl Hagenbeck and built in 1911, the Roman zoo is an example of the turn-of-the-century “Hagenbeck revolution” in zoo architecture, which attempted to provide more naturalistic-appearing, open-air surroundings that were landscaped with artificial rocks and featured moats instead of bars, often creating tableaux of animals from different taxonomic * This article was made possible by the indefatigable Simone Forti, who talked with me, danced for me, and pulled all manner of documents and photographs out of her dresser drawers for me; thank you, Simone. -
Judson Dance Theater: the Work Is Never Done
Judson Dance Theater: The Work Is Never Done Yvonne Rainer, Simone Forti, and Steve Paxton reflect on Robert Ellis Dunn and Judith Dunn’s composition class YVONNE RAINER: My name is Yvonne Rainer. SIMONE FORTI: I’m Simone Forti. STEVE PAXTON: My name is Steve Paxton. I’m a dancer. RAINER: Choreographer. FORTI: Artist. RAINER: Writer. Filmmaker. FORTI: I’ve mainly worked with movement. PAXTON: I came from Arizona with my banjo on my knee about 1958. RAINER: I felt I’d come into dance pretty late, so I was in a hurry in 1960. I mean, absorbing everything, and that included ballet. It included Cunningham, it included Waring and Cage. PAXTON: The modern dance world was not homogeneous. I mean, it wasn’t all just one big thing. There were a lot of different aesthetics and dance approaches in it. FORTI: When Bob Dunn offered his composition class, it was like something solid to work with. RAINER: I enrolled in Robert Dunn’s composition class in the fall of 1960. At that point there were only five of us. And Bob rolled out these scores for John Cage’s Fontana Mix and started talking about ways that score might be adapted for choreographic purposes. FORTI: I remember the scores themselves, transferring into movement rather than sound. RAINER: I was looking for some other way to look at things. I mean, painters were defying all the rules already and Cage came along and introduced a whole new vocabulary of sounds and movements. PAXTON: Chance methods meant that instead of trying to imagine a new way to do something, you just set out using dice, coins to decide what part of the body to use or entrances and exits and length durations. -
2018 Scripps/ADF Award Announced
HONORARY CHAIRPERSONS Mrs. Laura Bush Mrs. Hillary Rodham Clinton Mrs. George Bush Mrs. Nancy Reagan Mrs. Rosalynn Carter Mrs. Be y Ford (1918–2011) BOARD OF DIRECTORS Curt C. Myers, Chairman Jodee Nimerichter, President Russell Savre, Treasurer Nancy McKaig, Secretary PRESS CONTACT Charles L. Reinhart, Director Emeritus National Press Representative: Lisa Labrado Jennings Brody Mimi Bull [email protected] Nancy P. Carstens Direct: 646-214-5812/Mobile: 917-399-5120 Rebecca B. Elvin Richard E. Feldman, Esq. James Frazier, Ed.D. North Carolina Press Representative: Sarah Tondu omas R. Galloway Jenny Blackwelder Grant [email protected] Susan T. Hall, Ph.D. Office: 919-684-6402/Mobile: 919-270-9100 Dave Hurlbert Carlton Midye e Adam Reinhart, Ph.D. Arthur H. Rogers III FOR IMMEDIATE RELEASE Judith Sagan 2018 SAMUEL H. SCRIPPS/AMERICAN DANCE FESTIVAL AWARD TO BE PRESENTED TO RONALD K. BROWN Durham, NC, October 11, 2017—The American Dance Festival (ADF) will present the 2018 Samuel H. Scripps/American Dance Festival Award for lifetime achievement to acclaimed choreographer, Ronald K. Brown. Established in 1981 by Samuel H. Scripps, the annual award honors choreographers ADVISORY COMMITTEE who have dedicated their lives and talent to the creation of modern dance. Celebrated dancer, Robby Barne choreographer, and teacher Dianne McIntyre will present the $50,000 award in a brief ceremony on Brenda Brodie Ronald K. Brown Thursday, June 28th at 8:00pm, prior to the performance of Evidence, A Dance Company at Martha Clarke Reynolds Industries Theater. Laura Dean Mark Dendy Eiko and Koma “We are thrilled to honor Ronald K. Brown with this award. -
Revolution by the Book
AK PRESS PUBLISHING & DISTRIBUTION SUMMER 2009 AKFRIENDS PRESS OF SUMM AK PRESSER 2009 Friends of AK/Bookmobile .........1 Periodicals .................................51 Welcome to the About AK Press ...........................2 Poetry/Theater...........................39 Summer Catalog! Acerca de AK Press ...................4 Politics/Current Events ............40 Prisons/Policing ........................43 For our complete and up-to-date AK Press Publishing Race ............................................44 listing of thousands more books, New Titles .....................................6 Situationism/Surrealism ..........45 CDs, pamphlets, DVDs, t-shirts, Forthcoming ...............................12 Spanish .......................................46 and other items, please visit us Recent & Recommended .........14 Theory .........................................47 online: Selected Backlist ......................16 Vegan/Vegetarian .....................48 http://www.akpress.org AK Press Gear ...........................52 Zines ............................................50 AK Press AK Press Distribution Wearables AK Gear.......................................52 674-A 23rd St. New & Recommended Distro Gear .................................52 Oakland, CA 94612 Anarchism ..................................18 (510)208-1700 | [email protected] Biography/Autobiography .......20 Exclusive Publishers CDs ..............................................21 Arbeiter Ring Publishing ..........54 ON THE COVER : Children/Young Adult ................22 -
Judson Dance Theater: the Work Is Never Done
Judson Dance Theater: The Work is Never Done Judson Dance Theater: The Work Is Never Done The Museum of Modern Art, New York September 16, 2018-February 03, 2019 MoMA, 11w53, On View, 2nd Floor, Atrium MoMA, 11w53, On View, 2nd Floor, Contemporary Galleries Gallery 0: Atrium Complete Charles Atlas video installation checklist can be found in the brochure Posters CAROL SUMMERS Poster for Elaine Summers’ Fantastic Gardens 1964 Exhibition copy 24 × 36" (61 × 91.4 cm) Jerome Robbins Dance Division, New York Public Library, GIft of Elaine Summers Gallery 0: Atrium Posters Poster for an Evening of Dance 1963 Exhibition copy Yvonne Rainer Papers, The Getty Research Institute, Los Angeles Gallery 0: Atrium Posters Poster for Concert of Dance #13, Judson Memorial Church, New York (November 19– 20, 1963) 1963 11 × 8 1/2" (28 × 21.6 cm) Judson Memorial Church Archive, Fales Library & Special Collections, New York University Libraries Gallery 0: Atrium Posters Judson Dance Theater: The Work Is Never Done Gallery 0: Atrium Posters Poster for Concert of Dance #5, America on Wheels, Washington, DC (May 9, 1963) 1963 8 1/2 × 11" (21.6 × 28 cm) Judson Memorial Church Archive, Fales Library & Special Collections, New York University Libraries Gallery 0: Atrium Posters Poster for Steve Paxton’s Afternoon (a forest concert), 101 Appletree Row, Berkeley Heights, New Jersey (October 6, 1963) 1963 8 1/2 × 11" (21.6 × 28 cm) Judson Memorial Church Archive, Fales Library & Special Collections, New York University Libraries Gallery 0: Atrium Posters Flyer for