Judson Theater: The Work Is Never Done ABOUT THE EXHIBITION MOVING-IMAGE INSTALLATION DESIGNED BY CHARLES ATLAS

******************************** ******************************** The exhibition is organized by Ana Janevski, Curator, and Thomas J. Lax, Associate For a brief period in the early For this exhibition, filmmaker and Curator, with Martha Joseph, 1960s, a group of choreographers, video artist Charles Atlas has Curatorial Assistant, Department of Media and Performance Art. visual artists, composers, and made an installation of historical Performances are produced filmmakers gathered in Judson moving-image material related to by Lizzie Gorfaine, Producer, Memorial Church, a socially engaged the work of the choreographers with Kate Scherer, Manager, Performance and Live Programs. Protestant congregation in New featured in the performance York’s , for a program, alternating with a series of workshops that ultimately compilation of performance footage redefined what counted as dance. from the Judson group’s various The performances that evolved members. It includes footage of The exhibition is made possible by Hyundai Card. from these workshops incorporated both individual and group pieces everyday movements—gestures drawn made during the Judson era and Leadership support is provided from the street or the home; their after, emphasizing the relationship by Monique M. Schoen Warshaw, The Jill and Peter Kraus Endowed structures were based on games, of the soloist to the ensemble and Fund for Contemporary simple tasks, and social . showing how Judson influenced the Exhibitions, and by MoMA’s Wallis Spontaneity and unconventional later careers of these artists. To Annenberg Fund for Innovation in Contemporary Art through the methods of composition were create the segment dedicated to Annenberg Foundation. emphasized. The Judson artists , Atlas collaborated

Major support is provided by investigated the very fundamentals with Trisha Brown Dance Company’s Jody and John Arnhold and by of , stripping dance of former archivist Cori Olinghouse. The Contemporary Arts Council its theatrical conventions, and the of The . result, according to VILLAGE VOICE For decades, Atlas (American, Generous funding is provided critic Jill Johnston, was the most b. 1949) has brought together by The Harkness Foundation exciting new dance in a generation. dance and media in ways that have for Dance. Through live performance, film, transformed how performance Additional support is provided by photography, sculptural objects, is documented. Atlas moved to New the Annual Exhibition Fund with major contributions from the musical scores, poetry, and York in 1969 and soon started Estate of Ralph L. Riehle, Alice and archival materials, JUDSON DANCE working with the Tom Tisch, Mimi and Peter Haas THEATER: THE WORK IS NEVER DONE Dance Company as stage manager, Fund, Brett and Daniel Sundheim, Karen and Gary Winnick, The traces the history of Judson Dance lighting designer, and in-house Marella and Giovanni Agnelli Fund Theater both in and outside the filmmaker. He left the Cunningham for Exhibitions, and Oya and church, from the workshops that company in 1984 but continued to Bülent Eczacıbaşı. took place there to other spaces collaborate with Cunningham while MoMA Audio is supported by around downtown New York. making his own films and working Bloomberg Philanthropies. with other artists, dancers, The program in the Donald B. musicians, and poets. Atlas has and Catherine C. Marron Atrium introduced new possibilities for is organized into multiple-week representing dance on screen, segments, each of which focuses collapsing moments in time and on the work of one artist: Yvonne following performers with his Rainer, , David Gordon, camera to better capture their , , and movement through space. He also Trisha Brown. Additionally, a video contributed to PAST FORWARD, a installation of related material, major Judson reunion in 2000 edited by the artist Charles Atlas, organized by dancer will be on view. In the final ’s White Oak weeks of the exhibition, Movement Dance Project. Research, an organization with a direct lineage to Judson, will hold classes and workshops. Since the beginning of her career SEP 16–23 in the early 1960s, Yvonne Rainer (American, b. 1934) has challenged ****************** many of the movement conventions and narrative structures of . PERFORMANCE PROGRAM The performance program features eight dances by Rainer, including SEP 16, 17, her earliest works, THREE SATIE 19, 20, 22 SPOONS (1961) and THREE SEASCAPES (1962), in which she explores various PROGRAM REPEATS AT relationships between movement and 12:30 AND 3:00 P.M. sound. The program also includes two sections from TERRAIN (1963)—the THREE SATIE SPOONS ’s first evening- (1961) length presentation of a single work by one choreographer—“Talking Solo” THREE SEASCAPES and “Diagonal,” the latter of which (1962) uses games as a guiding compositional principle. TRIO A (1966), which has WE SHALL RUN (1963) undergone many incarnations, is a series of precisely constructed TALKING SOLO (1963) sequences of seemingly disconnected motions, both virtuosic and mundane, DIAGONAL (1963) in which the performer never makes eye contact with the audience. Rainer CHAIR-PILLOW (1969) also experimented with athletic and everyday movements in WE SHALL RUN TRIO A: RETROGRADE, (1963), set to the Tuba mirum from FACING, IN THE ’s 1837 Requiem, and MIDNIGHT HOUR CHAIR-PILLOW (1969), which was first (1969–2011) performed in her CONTINUOUS PROJECT— ALTERED DAILY (1969). This latter TRIO A WITH FLAGS project included many Judson dancers (1970) and explored different aspects of the working process of dance making, ****************** learning, and rehearsing. It was also an important source for The MOVING-IMAGE PROGRAM Grand Union, an improvisational group Rainer was key to forming in the TRIO A (1966), 1970s, which gathered some of the performed in 1978 same Judson participants together again. TRIO A (1966), Short films: HAND MOVIE (1966), and RHODE ISLAND RED (1968), performed in 1969

Rehearsal of CONTINUOUS PROJECT— ALTERED DAILY (1969) Peter Moore’s photograph of , Joseph Schlichter (back), Sally Gross, Tony Holder, Deborah Hay, and Robert Morris (middle), Yvonne Rainer, Alex Hay, TRIO A WITH FLAGS and Lucinda Childs (front) in We Shall Run, 1963 (detail). Performed in Two Evenings (1970) 2 of Dances by Yvonne Rainer, Wadsworth Atheneum, Hartford, Connecticut, March 7, 1965 DEBORAH HAY Deborah Hay (American, b. 1941) SEP 24–OCT 7 was active in the Judson Dance Theater group as both a dancer and ****************** choreographer. Like many of her peers, she explored the increasingly blurred PERFORMANCE PROGRAM line between choreography and everyday movement, organizing her pieces around OCT 4, 5, 6 tasks, games, repetition, and the AT 2:00 P.M. reduction of movement. In particular, she explored group configurations in TEN (1968) a selection of works shown at the Anderson Theater in 1968, including ****************** GROUP I (1968), GROUP II (1969), and TEN (1968). Jill Johnston, reviewing MOVING-IMAGE PROGRAM that concert in the VILLAGE VOICE, remarked that the three dances Deborah Hay’s “leave me searching for superlatives. Dance Classes I’m tempted with platitudes like (c. 1966) ‘breakthrough’ and ‘come a long way.’” The movements in all three dances Deborah Hay and consist almost entirely of casual Steve Paxton steps ordered into strict geometric Dancing in the configurations, and use the same basic Spring St. Loft materials: musicians, movers, and (c. 1968) poles. TEN requires ten performers to divide into groups of different GROUP I (1968) sizes and play a version of follow the leader around a vertical and a TEN (1968), horizontal pole. In the original 1968 performed in 1982 performance, the rock band The Third Eye provided live accompaniment. GROUP II (1969) However, when the piece was performed in 1982 at Danspace Project, ten TRIO I (1969) contemporary New York–based dancers and TEN (1968), and the band Max Fraction were performed in 1969 invited. Hay’s work illustrates her belief in the potential playfulness of dance and the responsiveness of the dancing body to its surroundings.

From top: Deborah Hay. Still from Group I, 1968. Filmed by Robert Rauschenberg; 4 Deborah Hay. Still from Group II, 1969. Filmed by Hollis Frampton DAVID GORDON During his work as part of Judson OCT 8–21 Dance Theater, David Gordon (American, b. 1936) was interested ****************** in how choreography brings disparate elements together on stage, and how PERFORMANCE PROGRAM these elements are perceived by audiences. Gordon performed his solo OCT 18, 19, 20 MANNEQUIN DANCE (1962) at Judson AT 3:00 P.M. Dance Theater’s inaugural concert in 1962. The following year, his growing THE MATTER @ MoMA fascination with show business and (1971/2018) pop culture was visible in RANDOM BREAKFAST (1963), performed with his ****************** partner, dancer . In 1971 Gordon choreographed a group MOVING-IMAGE PROGRAM piece, THE MATTER (1971), during a Grand Union residency at Oberlin THE MATTER, College, and it was performed a year rehearsal excerpts later at the Cunningham Studio. from 1979 Throughout that performance, forty dancers—both trained and untrained— CHAIR (1974) suddenly froze, or took positions and revised them, and Setterfield performed a solo using the early photographic motion studies of Eadweard Muybridge as its guiding structure. THE MATTER also included some poses taken from the earlier MANNEQUIN DANCE. Since 1972, THE MATTER has continued to evolve and add other references from Gordon’s previous work. It was performed in his loft in New York in 1979, where it included extracts from his BAYADERE (1977) and CLOSE UP (1979). In 2012 it was performed at Danspace Project in New York with excerpts from BAYADERE, CHAIR (1974), CLOSE UP, MUYBRIDGE (1979), and MANNEQUIN (1962). The artist has conceived a new version, THE MATTER @ MoMA, especially for this exhibition.

From top: Babette Mangolte’s photograph of David Gordon, Valda Setterfield, and unidentified performers in The Matter, 1971. Performed at Merce Cunningham Studio, New York, 1972; Peter Moore’s photograph of David Gordon in Mannequin Dance, 1962. Performed in Dance Concert of Old and New Works by David Gordon, Yvonne Rainer, Steve Paxton, Judson Memorial 6 Church, January 10, 1966 LUCINDA CHILDS In Lucinda Childs’s (American, b. OCT 22–NOV 4 1940) solo work of the early 1960s, she derived movements from the ****************** manipulation of commonplace objects like bed sheets and hair rollers. PERFORMANCE PROGRAM Childs performed her first work, PASTIME (1963), a three-part dance OCT 29, 30, 31 set to Philip Corner’s recorded score NOV 1, 2, 3, 4 of water sounds, in 1963 at . After forming the PROGRAM REPEATS AT Lucinda Childs Dance Company in 1973, 12:00 AND 3:00 P.M. she choreographed CALICO MINGLING (1976) and RADIAL COURSES (1976), PASTIME (1963, both of which consist of four dancers first revised in moving in geometric patterns without 1982) musical accompaniment. KATEMA (1978), the final work in this performance CALICO MINGLING program, was originally a solo, which (1973) Childs recently reconfigured as a quartet. As in ballet or military RADIAL COURSES ceremonies, the group formations in (1976, first Childs’s works of the 1970s projected revised in 1990) what VILLAGE VOICE critic Jill Johnston described as a “hard-edge KATEMA (1978, concentrated impassivity.” revised as a quartet in 2013)

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MOVING-IMAGE PROGRAM

CALICO MINGLING (1973)

KATEMA (1978)

CARNATION (1964)

Peter Moore’s photograph of Lucinda Childs in Pastime, 1963 (detail). 8 Performed in Surplus Dance Theater: Program Exchange, New York, March 2, 1964 STEVE PAXTON Between 1961 and 1965, Steve Paxton NOV 19–DEC 16 (American, b. 1939) toured as a dancer in the Merce Cunningham Dance Company. ****************** During that time he also made his own choreographic work and collaborated PERFORMANCE PROGRAM with Robert Rauschenberg, the company’s lighting, set, and costume DEC 9, 10, 11, designer. In 1964, the two performed 13, 14, 15 JAG VILL GÄRNA TELEFONERA (I WOULD LIKE TO MAKE A PHONE CALL), in which PROGRAM REPEATS they interpreted a collage of mostly AT 12:00, 1:30, sports photographs by mimicking each AND 3:00 P.M. pose while freely linking the images through their physical movement and Stephen Petronio contact. The work anticipates Contact Company’s Improvisation—a collaborative movement reconstructions practice Paxton developed in his of JAG VILL GÄRNA 1972 performance MAGNESIUM, in which TELEFONERA (1964) participants use touch rather than sight to generate movement together. Stephen Petronio Company’s EXCERPT In 1982, Paxton gave the score for JAG FROM GOLDBERG VILL GÄRNA TELEFONERA to his student, VARIATIONS (2017) Stephen Petronio, who performed the Based on THE work with Randy Warshaw. For this GOLDBERG VARIATIONS exhibition, Stephen Petronio Company BY J.S. BACH PLAYED will reconstruct the 1982 version and BY GLENN GOULD create new interpretations of Paxton’s IMPROVISED BY STEVE score. This program also includes PAXTON (1986–92) Paxton’s THE GOLDBERG VARIATIONS BY J.S. BACH PLAYED BY GLENN GOULD IMPROVISED BY STEVE PAXTON (1986–92), ****************** an ethereal solo that Paxton performed in empty dance halls and in the woods, MOVING-IMAGE PROGRAM among other unorthodox locations.

SATISFYIN’ LOVER ...... (1967), STATE (1968), and Steve Paxton’s video installation SMILING (1969), WEIGHT OF SENSATION (2008) is on view performed in 1969 from November 19 through November 25. The work features Paxton speaking MAGNESIUM (1972) directly to the camera through a glass table. It will be projected onto the THE GOLDBERG ceiling of the Marron Atrium. VARIATIONS BY J.S. BACH PLAYED BY GLENN GOULD IMPROVISED BY STEVE PAXTON (1986–92), versions performed in 1987, 1988, 1992

Stig T. Karlsson’s photograph of Steve Paxton (left) and Robert Rauschenberg (right) in Jag vill gärna telefonera (I Would Like to Make a Phone Call), 1964. Performed in Five New York Kvällar 10 (Five New York Evenings), , , September 13, 1964 TRISHA BROWN From her solo and duet performances at DEC 17–JAN 16 Judson Memorial Church to the ensemble choreographies she made upon founding ****************** her own company in 1970, Trisha Brown’s (American, 1936–2017) half- MOVING-IMAGE PROGRAM century-long career was characterized by sensuousness, analytical structure, HOMEMADE (1966) and a feeling akin to flying. For this presentation, documentation SKUNK CABBAGE, SALT of her work is organized into an GRASS AND WADERS installation designed by artist (1967), YELLOW BELLY Charles Atlas in collaboration with (1969), and PLANES Cori Olinghouse, the former archive (1968), performed in director of Trisha Brown Dance Company 1969 and director of The Portal Project. The installation focuses on the PLANES (1968), period from Brown’s 1966 HOMEMADE—in performed in 2009 which she straps a projector onto her back, throwing a film onto the wall, MAN WALKING DOWN floor, and ceiling in synchronization THE SIDE OF A with her live performance—to a BUILDING (1970) demonstration of phrase material from her 1979 GLACIAL DECOY, her first of WALKING ON THE WALL several large-scale theatrical works. (1971) Moving images featured prominently in Brown’s work; she used video as a PRIMARY ACCUMULATION preparatory tool for her choreography (1972), performed and collaborated with filmmakers such in 1974 as Babette Mangolte, , , and Jud Yalkut. The GROUP PRIMARY installation traverses Brown’s early ACCUMULATION (1973), practice, placing her highly organized performed in 1987 “Accumulation” dances—in which simple gestures accrue through repeated GROUP PRIMARY iterations—in relation to the physical ACCUMULATION WITH abandon she displays in WATER MOTOR MOVERS (1973), (1978), a work Brown described as performed in 1974 “unpredictable, personal, articulate, dense, changeful, wild assed.” SPANISH DANCE (1973), performed in 1979

LOCUS/ALTERED (1981)

Lecture with choreography from LOCUS (1975), performed c. 1978

WATER MOTOR (1978)

Lecture including preparatory choreography from GLACIAL DECOY (1979), c. 1978 12 Trisha Brown. Still from Walking on the Wall, 1971 (detail). Film by Elaine Summers In the final weeks of the exhibition, JAN 17–25 the Marron Atrium hosts the New York– based Movement Research (MR), one ****************** of the world’s leading laboratories for the investigation of dance and other movement-based forms. MR was founded in 1978 as the School for Movement Research and Construction, and has been hosting performances and workshops at Judson Memorial Church since 1991. At MoMA, MR offers classes and workshops, transforming the Marron Atrium into a space for the creative process and education.

Space is limited and available on a first-come, first-served basis for some programs. For free preregistration, visit moma.org/ judsondance. On-site sign-up begins thirty minutes before each program.

Jennifer Monson. BIRD BRAIN: Ducks and Geese Migration. 2004. Performed at Movement 14 Research Gala, Judson Memorial Church, May 13, 2013 (detail). Photo: Ian Douglas GALLERY PERFORMANCES AND FILM SCREENINGS PUBLIC PROGRAMS

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SIMONE FORTI’S DANCE CONSTRUCTIONS AT JUDSON A TWO-PART PROGRAM AT JUDSON MEMORIAL CHURCH AND MOMA PS1 CONTEMPORARY GALLERIES, FLOOR 2 THE ROY AND NIUTA TITUS THEATER 2 ...... TUE, THU, SAT AT 11:30 A.M., TUE, DEC 4, 7:30 P.M. 1:30, AND 3:30 P.M. THROUGHOUT SAT, DEC 8, 4:30 P.M. JUDSON DANCE THEATER JUDSON DANCE THEATER: THE EXHIBITION REASSEMBLED A COLLECTIVE SPECULATION ...... JUDSON MEMORIAL CHURCH MoMA PS1, 22–25 JACKSON AVENUE, ...... 55 WASHINGTON SQUARE WEST LONG ISLAND CITY Andy Warhol frequently attended ’s Dance Constructions Judson Dance Theater concerts, SAT, OCT 13, 11:00 A.M.–6:00 P.M. SUN, JAN 27, 12:00–7:00 P.M. (1960–61) were key forerunners where he first saw , the to Judson Dance Theater. Made American Ballet Theater School– ...... from inexpensive materials, trained dancer who became his including plywood and rope, each muse. Herko appeared in many of Organized in collaboration with A full-day symposium will “construction” prompts actions such Warhol’s earliest films, including Judson Memorial Church, the reassess the Judson group’s as climbing, leaning, standing, the newly digitized film reels socially engaged Protestant continuing influence through or whistling. Simultaneously featured here in which the dancer congregation in Greenwich Village presentations, discussions, and sculptures and performances, the and choreographer skates and gazes that originally housed Judson Dance sound improvisations by artists, works were first presented at at himself nude. This screening Theater, this full day of programs scholars, and critics. This Reuben Gallery and the artist Yoko features JILL AND FREDDY DANCING includes a screening of Shirley program, co-organized with Malik Ono’s loft, both in New York. (1963)—in which Herko performs with Clarke’s THE (1961), Gaines, André Lepecki, and Fred VILLAGE VOICE critic Jill Johnston a discussion about the mutual Moten of ’s The following works are performed: on a Lower East Side rooftop—and influence of art and religion, Tisch School of the Arts Department ACCOMPANIMENT FOR LA MONTE’S “2 includes Warhol’s films of Johnston and performances co-organized of Performance Studies, is SOUNDS” AND LA MONTE’S “2 SOUNDS,” performing with a broom at Warhol’s with Movement Research. Drawing presented as part of MoMA PS1’s VW CENSOR, HUDDLE, PLATFORMS, SLANT Factory. The program also brings connections between the church’s Sunday Sessions. BOARD. On selected dates SEE SAW together Warhol’s Screen Tests past and present, the program aims will also be performed, with featuring Judson participants, to highlight urgent and persistent For ticketing information, visit special guests. including the choreographer Lucinda questions about creative expression momaps1.org. Childs and the lighting designer and community organizing. Billy Linich. Free, no advance ticketing required For ticketing information, visit moma.org.

16 RELATED PROGRAMMING SPECIAL THANKS IMAGE CREDITS

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The curators gratefully acknowledge the contributions of Cover image: Peter Moore’s photograph of unidentified LECTURE PERFORMANCES POST-PERFORMANCE the following colleagues and collaborators: performers in Joan Baker’s Ritual, 1963 (detail). Performed THE ROY AND NIUTA TITUS THEATER 2 ARTIST CONVERSATIONS in Concert of Dance #13, Judson Memorial Church, MARRON ATRIUM Charles Atlas, artist consultant (Marron Atrium); November 20, 1963. © Barbara Moore/Licensed by VAGA at ...... Kevin Ballon, Senior Graphic Designer; Ginny Benson, ARS, NY. Courtesy Paula Cooper Gallery, New York Assistant Performance Coordinator; Jonathan Berger, THU, SEP 20 artist consultant (galleries); Sara Bodinson, Director Page 3: © Barbara Moore/Licensed by VAGA at ARS, NY. AN EVENING WITH YVONNE RAINER A conversation between Yvonne of Interpretation, Research, and Digital Learning; Nina Courtesy Paula Cooper Gallery, New York Callaway, Digital Media freelancer; Harry C.H. Choi, MON, SEP 17, 7:00 P.M. Rainer and novelist and cultural 2017–18 Twelve-Month Intern, Department of Media and Page 5: Images © Deborah Hay critic Lynne Tillman follows the Performance Art; Laura Coppelli, Associate Director, Human Resources; Claire Corey, Production Manager, Page 7: © Babette Mangolte; © Barbara Moore/Licensed by Yvonne Rainer presents the latest 12:30 p.m. performance. Graphic Design; Matthew Cox, Senior Production Designer; VAGA at ARS, NY. Courtesy Paula Cooper Gallery, New York iteration of her REVISIONS: A Vivian A. Crockett, 2017–18 Museum Research Consortium TRUNCATED HISTORY OF THE UNIVERSE FRI, OCT 5 Fellow, Department of Media and Performance Art; Lee Page 9: © Barbara Moore/Licensed by VAGA at ARS, NY. Ann Daffner, Photography Conservator; Paul DiPietro, Courtesy Paula Cooper Gallery, New York FOR DUMMIES. A RANT DANCE AND A conversation between Deborah Hay AV Technical Manager; Atheel Elmalik, 2016–17 Twelve- LETTER TO HUMANITY, an ongoing and MoMA’s Ana Janevski, curator Month Intern, Department of Media and Performance Page 11: Image courtesy Moderna Museet, Stockholm reflection on current events. in the Department of Media and Art; Elizabeth Gollnick, 2016–17 Museum Research Consortium Fellow, Department of Media and Performance Page 13: © Trisha Brown Dance Company This program is presented as part Performance Art, follows the 2:00 Art; Natasha Giliberti; Lizzie Gorfaine, Producer, of Modern Mondays. For ticketing p.m. performance. Performance and Live Programs; Adelia Gregory, Associate Page 15: Image courtesy of Movement Research Educator, Public Programs and Gallery Initiatives; Leticia information, visit moma.org/ Gutierrez, Associate Educator, Learning Programs and Page 16: Simone Forti. Huddle, 1961. Performance. 10 min. judsondance. SUN, NOV 4 Partnerships; Aaron Harrow, AV Design Manager; Pablo Committee on Media and Performance Art Funds. © 2018 A conversation between Lucinda Helguera, Director, Adult and Academic Programs; Athena The Museum of Modern Art, New York. Performed in ...... Holbrook, Collection Specialist, Department of Media and Performance 2: Simone Forti, The Museum of Modern Art, Childs and Suzanne Carbonneau Performance Art; Beatrice Johnson, Assistant Performance New York, March 7–8, 2009. Digital image © 2018 Yi-Chun follows the 3:00 p.m. performance. Coordinator; Sarah Kennedy, Assistant Director, Learning Wu/The Museum of Modern Art, New York; Andy Warhol. A LECTURE ON THE PERFORMANCE Programs and Partnerships; Rachel Kim, Senior Exhibition Still from Jill and Freddy Dancing, 1963. © The Andy Warhol Manager; Tom Krueger, Assistant Manager, Art Handling Museum, Pittsburgh, a museum of Carnegie Institute. All OF BEAUTY THU, DEC 13 and Preparation; Victoria Manning, Assistant Registrar; rights reserved THU, OCT 4, 7:00 P.M. A conversation between Steve Paxton Maria Marchenkova, Assistant Editor, Publications; Christine Murray, Digital Media freelancer; Sasha Okshteyn, Page 17: The Connection. 1961. USA. Directed by Shirley and David Velasco, editor-in-chief Assistant Performance Coordinator; Peter Oleksik, Clarke. Courtesy of Milestone Films and the Lewis Allen Deborah Hay presents her 2002 of ARTFORUM, follows the 3:00 p.m. Associate Media Conservator; Peter Perez, Foreman of the estate; Fred W. McDarrah’s photograph of Cecil Taylor, lecture-performance A LECTURE performance. Frame Shop; Jason Persse, Editorial Manager, Marketing; Jimmy Lyons, and Andrew Cyrille (from left) performing Alethea Rockwell, Assistant Educator, Public Programs; at the Five Spot Café, New York, April 18, 1975. © Fred W. ON THE PERFORMANCE OF BEAUTY. A Sammy Roth, Assistant Performance Coordinator; Damien McDarrah/Premium Archive/Getty Images reflection on dance and politics, Saatdjian, Art Director; Alexis Sandler, Associate General this lecture focuses on her solo ******************************** Counsel; Kate Scherer, Manager, Performance and Live Programs; Jess Van Nostrand, Assistant Director, Exhibition work O BEAUTIFUL, which was also Programs and Gallery Initiatives; Annie Wilker, Associate choreographed in 2002. DANCE CONSTRUCTION WORKSHOPS Paper Conservator; Sean Yetter, Producer, Digital Media; THE AGNES GUND GARDEN LOBBY Lynda Zycherman, Sculpture Conservator

SEP 18 AT 12:30, 2:30 P.M. SEP 25 AT 12:30, 2:30 P.M. NOV 10 AT 2:30 P.M. JAN 5 AT 2:30 P.M. A series of programs at The Museum of Modern Art and JAN 8 AT 12:30, 2:30 P.M. MoMA PS1 is supported by a partnership with Volkswagen of America.

Experience firsthand how dance was Major support for VW Sunday Sessions is provided by the redefined in the 1960s in these Anna-Maria and Stephen Kellen Foundation. workshops based on Simone Forti’s Major support for Adult and Academic Programs is Dance Constructions. Free and open provided by the Estate of Susan Sabel. Generous funding to everyone ages 15 and above. is provided by endowments established by Agnes Gund Space is limited and available on and Daniel Shapiro, The Junior Associates of The Museum of Modern Art, Walter and Jeanne Thayer, and by the a first-come, first-served basis. gifts of Alan Kanzer. Additional support is provided by the Sign-up begins thirty minutes Annual Education Fund. before each workshop.

18 VIDEO CREDITS VIDEO CREDITS

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CHARLES ATLAS COMPILATION YVONNE RAINER Trio I (1969) and ten (1968), Carnation (1964), performed at The TRISHA BROWN Group Primary Accumulation (1973), Edward Bhartonn. Pop #1 (1963), Rehearsal of Continuous Project— performed at Galleria L’Attico, Bonnie Bird Theatre at the Laban Homemade (1966), performed in performed in Toulouse, France, performed at Danspace Project in St. Altered Daily (1969) at Connecticut Festival Di Danza Volo Musica Centre, London, 1990. Film by Les 1966. Film by Robert Whitman. 1987. Film by Jean-Francois Jung. Mark’s Church as part of the Judson College, 1969. Film by Michael Dinamite, 1969. Film by Francesco Young and Ian Wallace. Performer: Performer: Trisha Brown. 16mm film Performers: Trisha Brown, Iréne Dance Theater reconstructions Fajans. Performers: Becky Arnold, degli Espinosa. Performers: Trisha Lucinda Childs. Video (color, sound). transferred to video (color, silent). Hultman, Carolyn Lucas, Shelley cosponsored by the Bennington , David Gordon, Brown, Simone Forti, Steve Paxton, Courtesy of the artist Courtesy of Trisha Brown Archive Senter. Produced for television College Judson Project and Douglas Dunn. 16mm transferred and others. 16mm film transferred by F.R.3 and la Sept. Video (color, Danspace Project, 1982. Film by to video (black and white), 40 min. to video (black and white, sound). Planes (1968), performed at sound). Courtesy of Trisha Brown John Sanborn. Performer: Edward Courtesy of Jerome Robbins Dance Courtesy of Trisha Brown Archive STEVE PAXTON Academy of Music, 2009. Film by Jud Archive Bhartonn. Video (color, sound). Division, The New York Public Library Satisfyin’ Lover (1967), State (1968), Yalkut. Performers: Diane Madden, Courtesy of Jerome Robbins Dance for the Performing Arts ten (1968), performed at Danspace and Smiling (1969), performed at Tamara Riewe, Laurel Jenkins (as Water Motor (1978), performed in Division, The New York Public Library Project in St. Mark’s Church as Galleria L’Attico, Festival Di Danza Laurel Tentindo), with Simone Forti 1978. Film by Babette Mangolte. for the Performing Arts Trio A (1966), performed in 1978. part of the Judson Dance Theater Volo Musica Dinamite, 1969. Film by in filmed projection. Video (color, Performer: Trisha Brown. 16mm Film by . Performer: reconstructions cosponsored by Francesco degli Espinosa. 16mm film sound). Courtesy of Trisha Brown film transferred to video (black and . Meditation (1966), Yvonne Rainer. 16mm transferred to the Bennington College Judson transferred to video (black and white, Archive and the BAM Hamm Archives white, silent). Courtesy of Babette performed at Danspace Project in St. video (black and white). © Yvonne Project and Danspace Project, 1982. sound). Courtesy of Trisha Brown Mangolte Mark’s Church as part of the Judson Rainer. The , Film by John Sanborn. Performers: Archive Walking on the Wall (1971), Dance Theater reconstructions Susan Braham, Pat Etheridge, performed 1971. Film by Elaine Man Walking Down the Side of a cosponsored by the Bennington Wendy Kamenoff, Brian Moran, Terry Magnesium (1972), performed at Summers. Footage taken from a Building (1970). Filmmaker unknown. College Judson Project and Trio A with Flags (1970) at Judson O’Reilly, Margo Perron, John Rommel, Oberlin College, 1972. Film by Steve contemporaneous edit of a film of 16mm film transferred to video (black Danspace Project, 1982. Film by John Memorial Church on the occasion of Cora Sangree, Nina Winthrop, Nelson Christiansen. Performers: John the same name, as selected by the and white, silent). Courtesy of Trisha Sanborn. Performer: Remy Charlip. the People’s Flag Show, 1970. Film by Zayas, Max Fraction. Courtesy of Faichney, Steve Paxton, Chris Peck, Artistic Estate of Elaine Summers/ Brown Archive Video (color, sound). Courtesy of Rudi Stern, John Reilly. Performers: Jerome Robbins Dance Division, Curt Siddall, Peter Walsh, Doug Kinetic Awareness® Center. Jerome Robbins Dance Division, David Gordon, Nancy Green, Barbara The New York Public Library for the Winter. Video (black and white, Performers: Trisha Brown, Carmen Group Primary Accumulation with The New York Public Library for the Dilley, Steve Paxton, Lincoln Scott, Performing Arts sound). © Videoda Beuchat, Douglas Dunn, Mark Movers (1973), performed at Walker Performing Arts and the estate of Yvonne Rainer. Video (black and Gabor, Barbara Dilley (as Barbara Art Center, 1974. Performers: Trisha Remy Charlip. © Remy Charlip, used white, sound). © Yvonne Rainer. The Goldberg Variations 1–15 (1992), Lloyd), Steve Paxton, Sylvia Palacios Brown, , Caroline by permission of The Wylie Agency Getty Research Institute, Los Angeles DAVID GORDON based on The Goldberg Variations Whitman (as Sylvia Whitman). 16mm Goodden, Sylvia Palacios Whitman, LLC The Matter (1972), rehearsal by J.S. Bach played by Glenn film transferred to video (black and and unknown movers. Video (black Trio A (1966), Short films: Hand Movie excerpts, 1979. Film by Merill Gould improvised by Steve Paxton white, silent). Courtesy of Trisha and white, sound). Courtesy of Judith Dunn. Dew Horse (1966), (1966), and Rhode Island Red (1968) Brockway. Performers: Valda (1986–92), performed at the Felix Brown Archive. Special thanks to Walker Art Center and Trisha Brown performed at Danspace Project in St. at Galleria L’Attico, Festival Di Danza Setterfield, Christopher Banner, Meritis building, , 1992. the Jerome Robbins Dance Division, Archive Mark’s Church as part of the Judson Volo Musica Dinamite, 1969. Film by Lisa Clarke, Michael Davis, Susan Film by Walter Verdin. Performer: The New York Public Library for the Dance Theater reconstructions Francesco degli Espinosa. Performer: Eschelbach, Lawrence Greene, Steve Paxton. Video (color, sound). Performing Arts Lecture demonstration with cosponsored by the Bennington Steve Paxton. 16mm film transferred Gahan Haskins, Margaret Hoeffel, Courtesy of Walter Verdin choreographic material from Glacial College Judson Project and to video (black and white, sound). , David Gordon, Irene Primary Accumulation (1972), Decoy (1979), c. 1978. Performer: Danspace Project, 1982. Film by Courtesy of Trisha Brown Archive Hultman, Joanne Koob, Joel Luecht, Goldberg Variations 16–30 (1992), performed in 1974. Film by James Trisha Brown. Video (black and white, John Sanborn. Performers: Cheryl Mary Lyman, Keith Marshall, Colleen based on The Goldberg Variations Dearing. Produced by Carlota sound). Courtesy of Trisha Brown Lilienstein, Bill Dixon. Video (color, Mulvihill, Judy Nelson, Priscilla by J.S. Bach played by Glenn Schoolman. Performer: Trisha Brown. Archive sound). Courtesy of Jerome Robbins DEBORAH HAY Newell, Gary Reigenborn, Marta Gould improvised by Steve Paxton Video (black and white, sound). Dance Division, The New York Public Deborah Hay and Steve Paxton Renzi, Ellen van Schuylenburch, (1986–92), performed at the Felix Courtesy of Trisha Brown Archive Spanish Dance (1973), performed at Library for the Performing Arts Dancing in the Spring St. Loft, c. Diane Schaffer, Derek Toohey. Video Meritis building, Amsterdam, 1992. Walker Art Center, 1979. Performers: 1968. Film by . 16mm (black and white, sound). Courtesy of Film by Walter Verdin. Performer: Locus/Altered (1981) based on Locus Trisha Brown, Elizabeth Garren, Steve Paxton. Jag vill gärna telefonera film transferred to video (black and Pick Up Performance Co. Steve Paxton. Video (color, sound). (1975), produced by Susan Dowling Lisa Kraus, Nina Lundborg, Mona (1964), performed at Danspace white, silent). Courtesy of the artist Courtesy of Walter Verdin for Dancing on the Edge, WGBH-TV, Sulzman. Video (color, sound). Project in St. Mark’s Church as Chair (1974), performed in 1980. Film 1981. Performers: Trisha Brown, Courtesy of Walker Art Center and part of the Judson Dance Theater Group I (1968) at School for the by Merrill Brockway. Performers: The Goldberg Variations by J.S. Bach Elizabeth Garren, Eva Karczag, Lisa Trisha Brown Archive reconstructions cosponsored by Visual Arts, NYC, 1968. Film by David Gordon, Valda Setterfield. played by Glenn Gould improvised by Kraus. Video (color, sound). Courtesy the Bennington College Judson Robert Rauschenberg. Performers: Video (color, sound). Courtesy of Pick Steve Paxton (1986–92), performed of Trisha Brown Archive Project and Danspace Project, 1982. Steve Paxton, John Weber, Anina Up Performance Co. at The Painted Bride, Philadelphia, Film by John Sanborn. Performers: Nosei, Michael Kirby, Barbara Jarvis, 1987. Film by Cathy Weis. Performer: Lecture demonstration with Stephen Petronio, Randy Warshaw. Steve Gianakos, Chris Gianakos, Sue Steve Paxton. Video (color, sound). choreographic material from Locus Video (color, sound). Courtesy of Hartnett, Alan Shields, and others. LUCINDA CHILDS Courtesy of Cathy Weis (1975) at the School for Movement Jerome Robbins Dance Division, 16mm film transferred to video (black Calico Mingling (1973) at Robert Research (now Movement Research), The New York Public Library for the and white, silent). Courtesy of the Moses Plaza, Lincoln Center for The Goldberg Variations by J.S. Bach c. 1978. Performer: Trisha Brown. Performing Arts artist the Performing Arts, 1973. Film by played by Glenn Gould improvised by Video (black and white, sound). Babette Mangolte. Performers: Susan Steve Paxton (1986–92), performed Courtesy of Trisha Brown Archive Rudy Perez. Take Your Alligator Group II (1969) at Anderson Theater, Brody, Lucinda Childs, Nancy Fuller, in East Charleston, VT, 1988. Film by With You (1963), performed at NYC, 1969. Film by Hollis Frampton. Judy Padow. 16mm film transferred Cathy Weis. Performer: Steve Paxton. Skunk Cabbage, Salt Grass and Marymount College, 1976. 16mm film transferred to video (black to video (black and white, sound). Video (color, sound). Courtesy of Waders (1967), Yellow Belly (1969), Performers: Barbara Roan, Anthony and white, silent). Courtesy of the Courtesy of Babette Mangolte Cathy Weis and Planes (1968), performed at LaGiglia. Video (black and white, artist Galleria L’Attico, Festival Di Danza sound). Courtesy of the artist Katema (1978), performed at Weight of Sensation, from Material Volo Musica Dinamite, 1969. Film by Deborah Hay’s Dance Classes (c. 1966). Kunsthaus Zurich, 1978. Film by for the Spine—A Movement Study Francesco degli Espinosa. Presented Film by David Bradshaw. 16mm film Renato Berta. Performer: Lucinda (2008). Courtesy of Contredanse by Fabio Sargentini and la Pont-Royal transferred to video (black and white, Childs. 16mm film transferred to Film TV. 16mm film transferred to silent). Courtesy of the artist video (black and white, sound). video (black and white, sound). Courtesy of Eric Franck Courtesy of Trisha Brown Archive

20 JUDSON DANCE THEATER: THE WORK IS NEVER DONE SEP 16, 2018–FEB 3, 2019

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Performances and moving-image programs are on view in The Donald B. and Catherine C. Marron Atrium on the following dates.

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YVONNE RAINER: SEP 16–23 PERFORMANCES SEP 16, 17, 19, 20, 22 AT 12:30 AND 3:00 P.M.

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DEBORAH HAY: SEP 24–OCT 7 PERFORMANCES OCT 4, 5, 6 AT 2:00 P.M.

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DAVID GORDON: OCT 8–21 PERFORMANCES OCT 18, 19, 20 AT 3:00 P.M.

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LUCINDA CHILDS: OCT 22–NOV 4 PERFORMANCES OCT 29, 30, 31, NOV 1, 2, 3, 4 AT 12:00 AND 3:00 P.M.

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STEVE PAXTON: NOV 19–DEC 16 PERFORMANCES DEC 9, 10, 11, 13, 14, 15 AT 12:00, 1:30, AND 3:00 P.M.

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TRISHA BROWN: DEC 17–JAN 16

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MOVEMENT RESEARCH: JAN 17–25

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Simone Forti’s Dance Constructions are performed in the second-floor Contemporary Galleries every Tuesday, Thursday, and Saturday at 11:30 a.m., 1:30 p.m., and 3:30 p.m.

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Admission to performances and programs is included with the price of admission, unless otherwise indicated. For more information, visit moma.org/judsondance.