DOCSLIB.ORG

David Gordon Digs Into His Archives for a Dance That Matters - the New York Times

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
David Gordon Digs Into His Archives for a Dance That Matters - the New York Times 9/10/2020 David Gordon Digs Into His Archives for a Dance That Matters - The New York Times https://nyti.ms/327ScDx David Gordon Digs Into His Archives for a Dance That Matters The choreographerʼs “The Philadelphia Matter — 1972/2020” is a video work for a virtual company of more than 30 performers. Thatʼs a lot of Dropbox. By Gia Kourlas Sept. 8, 2020 David Gordon knows his way around a rectangle. This choreographer and director has stared at them — and filled the spaces inside of them with his imaginative arrangements of words and movement — for ages. He is, after all, 84. There has been the rectangle of the stage, the rectangle of the page on which he writes or draws and even the rectangle of a store window; for years he designed the displays at Azuma, a much-beloved New York City shop. Now he is faced with another rectangle: the screen. Mr. Gordon, an Obie Award-winning director and founding member of the 1960s collective Judson Dance Theater, may not grasp the ins and outs of TikTok, but it seems as though he’s been preparing for digital dance — one of the few ways to present the art form during the coronavirus pandemic — his entire career. https://www.nytimes.com/2020/09/08/arts/dance/david-gordon-philadelphia-matters.html 1/8 9/10/2020 David Gordon Digs Into His Archives for a Dance That Matters - The New York Times Mr. Gordon, whose latest work premieres online Sept. 10. Andrew Eccles “I don’t go out very much anymore,” he said in a telephone interview. “I sit at my computer a lot, and I make collage. And in the making of collage, I discover how to find particular things and build story lines of my making out of found objects.” Mr. Gordon’s latest choreographic collage, “The Philadelphia Matter — 1972/2020,” features more than 30 Philadelphia dance artists performing material from three of Mr. Gordon’s works on video. For it, he worked closely with the designer and artist Jorge Cousineau. Commissioned by Christ Church Neighborhood House and presented with the 2020 Philadelphia Fringe Festival, the video continues Mr. Gordon’s exploration of “The Matter,” first presented in 1972 and most recently reinvented for MoMA in 2018. Streaming will occur on the website of Christ Church from Sept. 10. through Oct. 4. Dancers from MoMA will appear in the new work as well: Wally Cardona, along with the Pick Up Performance Co(s) members Karen Graham and Valda Setterfield, Mr. Gordon’s wife. The new work includes older footage from Mr. Gordon’s career, including this clip from a 1979 rehearsal of “Song and Dance.” The hourlong video is hypnotic, full of history and heart as Mr. Gordon activates archival material from his ever-evolving “The Matter,” including “Song and Dance,” a solo from the 1979 version; “Close Up,” a duet; and “Chair,” which he created for Ms. Setterfield, previously a member of the Merce Cunningham Dance Company, after she suffered an accident in 1974. https://www.nytimes.com/2020/09/08/arts/dance/david-gordon-philadelphia-matters.html 2/8 9/10/2020 David Gordon Digs Into His Archives for a Dance That Matters - The New York Times Both Mr. Gordon and Ms. Setterfield narrate throughout, giving context for dances by excavating the events of their lives and the world. As usual, everything blurs. “Chair” was created after Ms. Setterfield was hit by a Long Island Railroad train while in a car. They speak a line together: “Valda goes partially through the windshield.” “Chair” originally used two blue metal folding chairs that Mr. Gordon found in a studio; they belonged to the choreographer Lucinda Childs. The object was not a prop, but a partner. The choreography allowed Ms. Setterfield to regain her strength, balance and confidence. Gordon and Valda Setterfield in “Chair.” https://www.nytimes.com/2020/09/08/arts/dance/david-gordon-philadelphia-matters.html 3/8 9/10/2020 David Gordon Digs Into His Archives for a Dance That Matters - The New York Times Another iteration of “Chair.” In “The Philadelphia Matter,” the pair are shown performing side by side in grainy, black-and-white footage: stepping onto a seat and swinging a free leg around the top, or sitting while crossing a leg and folding to the floor. Gradually, like a symphony of bodies, dancers from the Philadelphia group fill in the screen with their own renditions of “Chair.” How can we help you lead a better, more fulfilling life at home during the pandemic? Ask us a question or tell us what’s on your mind. Submit a question As images scroll across the screen, the layering effect is mesmerizing; there is foreground and background as Mr. Gordon’s collage effect makes the image dance in three-dimensional glory. “One of the things I said to Jorge is that it’s important to me that there are not a lot of static moments in which I am looking at or reading something,” Mr. Gordon said. “The reading of something has to come in like movement.” Mr. Cousineau said the process of creating the video was like “a thousand-piece puzzle game, where you really just go: ʻThere’s a piece right here. It looks interesting. I don’t know where it belongs.’” https://www.nytimes.com/2020/09/08/arts/dance/david-gordon-philadelphia-matters.html 4/8 9/10/2020 David Gordon Digs Into His Archives for a Dance That Matters - The New York Times “And not only is it a piece of many, but it’s also a piece that changes throughout itself,” he added. “So it’s this weird time-based puzzle.” Mr. Gordon who lives in a loft on Lower Broadway with Ms. Setterfield, spoke about the experience of creating “The Philadelphia Matter” and how, during this time of social isolation, he often thinks about Trisha Brown, another founding choreographer of Judson, who died in 2017. She was who “made me buy this joint,” he said referring to the loft. Here are edited excerpts from the conversation. Marie Brown in “The Philadelphia Matter.” via Marie Brown https://www.nytimes.com/2020/09/08/arts/dance/david-gordon-philadelphia-matters.html 5/8 9/10/2020 David Gordon Digs Into His Archives for a Dance That Matters - The New York Times Amalia Colón-Nava. via Amalia Colón-Nava What was it like to watch the dancers’ auditions? I looked at all of it and began to wonder about how to deal with the differences between how they saw what I did and how I think I did what I did. Merce Cunningham is quoted somewhere as saying he wanted a company that danced the way he danced. I kept doing the same thing. And I began to wonder why I was insisting that they be as limited as I am. By the time I had Dean Moss, who could walk in and out of triple pirouettes without preparation, I thought, OK, what he can do is very good. And so I began to add to my work the abilities of the people who were there. How does that relate to the Philadelphia dancers? https://www.nytimes.com/2020/09/08/arts/dance/david-gordon-philadelphia-matters.html 6/8 9/10/2020 David Gordon Digs Into His Archives for a Dance That Matters - The New York Times Now I had to deal with long-distance communication with total strangers in specific and peculiar spaces. I began to make adjustments to the material that came to be about the people doing it. I realized that we could miraculously build a company of individual soloists in their own living rooms. We could figure out ways to make a group dance. How do you see your role? I become the person — not unlike the guy who used to be the choreographer in the studio — who’s looking at the whole piece. Somebody has to be deciding what is the stylistic circumstance that gets followed from each of these events to the other. Because the audience — with their computers or televisions at home — can take their own intermissions, but I am programming: How do we enter this world for an hour that will let us come out the end of it having determined that we have seen the kind of thing I make in the theater? How do you do that? I now have a great deal of cable on my TV. I’m watching episodes of everything in the order I want to watch them in. Why don’t I consider making this the possibility of streamed episodes? So it just lasts an hour, but it’s about 20 minutes a thing. All of these decisions were being made in relation to the fact that if I didn’t say that I was going to do this all, it would be canceled — economically canceled as well as professionally canceled. The work features more than 30 dancers from Philadelphia. Originally this was supposed to be a live performance. Why didn’t you want to cancel it? https://www.nytimes.com/2020/09/08/arts/dance/david-gordon-philadelphia-matters.html 7/8 9/10/2020 David Gordon Digs Into His Archives for a Dance That Matters - The New York Times They were talking about doing it in 2021 or 2022. Now then, I am 84 years old. I’m not making a whole lot of plans in 2021 and ’22 and what’s more, I’m living in a world where if I go out, I’ll die.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Proquest Dissertations
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, wfiMe others may be from any type of computer printer. Tfie quality of this reproducthm Is dependent upon ttie quality of the copy subm itted. Broken or indistinct print, ootored or poor quality illustrations and photographs, print bleodthrough. substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these wiU be noted. Also, if unauthorized copyright material had to t>e removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at ttie upper left-tiand comer and continuing from left to rigtit in equal sections with small overlaps. Photographs included in the original manuscript have t>een reproduced xerographically in this copy. Higtier qualify 6” x 9” black and white photographic prints are available for any pfiotographs or illustrations appearing in this copy for an additional ctiarge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMT CHILDREN'S DANCE: AN EXPLORATION THROUGH THE TECHNIQUES OF MERGE CUNNINGHAM DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Sharon L. Unrau, M.A., CM.A. The Ohio State University 2000 Dissertation Committee: Approved by Professor Emeritus Philip Clark Professor Seymour Kleinman, Advisor Assistant Professor Fiona Travis UMI Number 9962456 Copyright 2000 by Unrau, Sharon Lynn All rights reserved.
    [Show full text]
  • Download PDF 3.01 MB
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Eiko and Koma: Dance Philosophy and Aesthetic Shoko Yamahata Letton Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE AND DANCE EIKO AND KOMA: DANCE PHILOSOPHY AND AESTHETIC By SHOKO YAMAHATA LETTON A Thesis submitted to the Department of Dance in partial fulfillment of the Requirements for the degree of Master of Arts Degree Awarded: Summer Semester, 2009 The members of the Committee approve the Thesis of Shoko Yamahata Letton defended on October 18, 2007. ____________________________________ Sally R. Sommer Professor Directing Thesis ____________________________________ Tricia H. Young Committee Member ____________________________________ John O. Perpener III Committee Member Approved: ___________________________________________ Patricia Phillips, Co-Chair, Department of Dance ___________________________________________ Russell Sandifer, Co-Chair, Department of Dance ___________________________________________ Sally E. McRorie, Dean, College of Visual Arts, Theatre and Dance The Graduate School has verified and approved the above named committee members. ii Dedicated to all the people who love Eiko and Koma. iii ACKNOWLEDGEMENTS This thesis would not have been completed without the following people. I thank Eiko and Koma for my life-changing experiences, access to all the resources they have, interviews, wonderful conversations and delicious meals. I appreciate Dr. Sally Sommer’s enormous assistance, encouragement and advice when finishing this thesis. I sincerely respect her vast knowledge in dance and her careful and strict editing which comes from her career as dance critic, and, her wonderful personality. Dr. William Sommer’s kindness and hospitality also allowed me to work extensively with his wife.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • David Gordon
    David Gordon - ‘80s ARCHIVEOGRAPHY - Part 2 1 #1 DAVID IS SURPRISED - IN 1982 - when - ç BONNIE BROOKS - PROGRAM SPECIALIST AT THE NATIONAL ENDOWMENT FOR THE ARTS - - volunteers to leave her secure government job - and to relocate - from Washington DC to NYC - to become - Managing Director of the newly incorporated Pick Up Performance Company. #2 DAVID IS SURPRISED - to use metal folding chairs - for the 1st time - since 1974/75 - in a new work called T.V. Reel - to be performed in the Setterfield/Gordon studio - and - David asks artist - ç POWER BOOTHE - who designed everything in Trying Times - 1982 - to repaint old painted plaster studio walls - for the performance - to look like - new unpainted taped sheet rock studio walls - and surprised when Power agrees. It’s a good visual joke - David says - and cheaper - than to paint ê new taped unpainted sheet rock - 2 coatsa white. #1 David buys new çchairs - for new T.V. Reel - with 2 bars - far apart enough - to do original ‘74 Chair moves #2 Step up on - metal chairs - and - stand up n’step up - and stand up. With no bars - legs spread - and spread. #1 Original metal chairs - borrowed from Lucinda Childs - (see ‘70s ARCHIVEOGRAPHY - Part 2) have bars - between front’n front legs - and back’n back legs. #2 Company is Appalachian? Adirondack? Some kinda mountain. #1 Borrowed Lucinda Childs’ chairs - are blue. New chairs are brown. We still have original blue chairs - David says. David Gordon - ‘80s ARCHIVEOGRAPHY - Part 2 2 #2 1982 - T.V. Reel is performed by Valda Setterfield, Nina Martin î Keith Marshall, Paul Thompson, Susan Eschelbach, David Gordon and Margaret Hoeffel - danced to looped excerpts of - Miller’s Reel recorded in 1976 - by New England Conservatory country fiddle band - and conducted by Gunther Schuller.
    [Show full text]
  • The Cunningham Costume: the Unitard In-Between Sculpture and Painting Julie Perrin
    The Cunningham costume: the unitard in-between sculpture and painting Julie Perrin To cite this version: Julie Perrin. The Cunningham costume: the unitard in-between sculpture and painting. 2019. hal- 02293712 HAL Id: hal-02293712 https://hal-univ-paris8.archives-ouvertes.fr/hal-02293712 Submitted on 31 Oct 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. SITE DES ETUDES ET RECHERCHES EN DANSE A PARIS 8 THE CUNNIN Julie PERRIN GHAM COS TUME: THE UNITARD IN-BETWEEN SCULPTURE AND PAINTING Translated by Jacqueline Cousineau from: Julie Perrin, « Le costume Cunningham : l’académique pris entre sculpture et pein- ture », Repères. Cahier de danse, « Cos- tumes de danse », Biennale nationale de danse du Val-de-Marne, n° 27, avril 2011, p. 22-25. SITE DES ETUDES ET RECHERCHES EN DANSE A PARIS 8 THE Julie PERRIN CUNNINGHAM COSTUME : THE UNITARD IN- Translated by Jacqueline Cousineau BETWEEN SCULPTURE from: Julie Perrin, « Le costume Cun- ningham : l’académique pris entre AND PAINTING sculpture et peinture », Repères. Ca- hier de danse, « Costumes de danse », Biennale nationale de danse du Val- de-Marne, n° 27, avril 2011, p. 22-25.
    [Show full text]
  • 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.
    [Show full text]
  • House Opens - Project: Archiveography Logo
    LIVE ARCHIVEOGRAPHY - PART TWO 1 HOUSE OPENS - PROJECT: ARCHIVEOGRAPHY LOGO AUDIO - 1971 - OBERLIN COLLEGE RECORDING - SUE TEPLEY - PIANO PROJECT - PHOTO ALBUM – LIVE ARCHIVEOGRAPHY SCRIPT PGS - AUDIO - 2013 - GORDON/CUNNINGHAM/GRAHAM/OLIVER/SETTERFIELD PROJECT - ARCHIVEOGRAPHY - PART TWO PROJECT - EVAN LESLIE - INTRODUCES PERFORMANCE LIVE ARCHIVEOGRAPHY - PART TWO 2 1984 - in the NY Times review of - A Plain Romance Explained - performed at the Joyce Theater - the critic writes - Gordon plays on the ideas of creative process and rehearsal as dancer Keith Marshall explains his steps and relationship to an invisible partner. When the other dancers do the same, the joke wears thin. Tedium sets in. PROJECT - PLAIN ROMANCE EXPLAINED - TRIO - PLUS TEXT David can’t help thinking - the joke wearing thin - and tedium - are his perverse choices of ingredients. He wantsa signal how sincerely he loves what he loves - and perversely laugh or groan - at his own sincerity. He wantsa present something that looks improvised - and is perversely rehearsed enough - to look improvised. And then - present it 2 times in a row. Or 3 - perversely - like repetition and argument - and argument - and repetition - and repetition. He wantsa do - and simultaneously - perversely undo - a climax. In 1984 - he creates a duet - for Keith Marshall - with an active missing partner - which is therefore - perversely - a solo. David must acknowledge - as he nears the end of this career - that it is the end of this career - and that perversity is - an inciting noun - and is - and was always - at work in his work. David wantsa eat his favorite Jewish rye bread - with caraway seeds - and - perversely - have it too.
    [Show full text]
  • David Gordon & Valda Setterfield Part 2
    CONTENTS .. ·2 LETTERS 3 EDITOR NOTE 4 IN MEMORY OF ELEANOR HUSTON 8 DAVID GORDON & VALDA SETTERFIELD (interview) Part 2 12 HEARD LIVE ON WBAI-FM: E.llen Elias 13 CROSS-CURRENTS- perspectives from other sources 14 THE CHANGING AVANT-GARDE: Anna Kisselgoff (reprint) 16 CONTEMPORARY DANCE (book review): Mark Blumenfeld 17 DANCING MIND: Lisa Kraus 18 DAVID BRADSHAW (drawing) 20 ROU~D UP- reports on Contact activities 21 B.A.C.N.: Alan Ptashek 22 EAST MEETS WEST IN THE SOUTH: Robin Feld CONTACT IMPROVISATION NEWS (reports, classes, jams, notices) appears in the CONTACT NEWSLETTER, a removable section of ca. CONTACTS (a referral system) is on page 22 of the Summer '79 ca. COORDINATING EDITOR: Nancy Stark Smith CONTACT QUARTER LV is published four times a year by ASS'T EDITOR at large: Lisa Nelson Contact Ouarterly/Box297/Stinson Beach, California 94970. GRAPHIC DESIGN: Laura Millin Yearly subscription rates: $10 ($13 U.S. funds in Canada, COPY EDITING: Alan Ptashek, Jerry Zientara, NSS $15 overseas.) Single copies: $2.50 ($3 U.S. funds in Canada, TYPESETTING: NSS $3.50 overseas.) Back issues: $4 each. Contact Quarterly can LAYOUT & PASTEUP: Laura Millin be mail-ordered from our central offic in Stinson Beach or obtained DARKROOM: Shannon West, Mark Blumenfeld through the distributors indicated as such in 'Contacts'. PRODUCTION ASS'TS: Mark Blumenfeld, Andrew Harwood, Thorn Mack CONTACT QUARTERLY is a project of Contact Collaborations, PRODUCTION FACILITY: Northwest Passage, Seattle, Wa. a non-profit or11anization serving as an umbrella for several Contact PRINTER:.sNOHOM/.SH 'PU8LISiftN"; .SIIOHOMISN/ vJ~. activities. DONATIONS to CO are now tax deductible and, as CIRCULATION & 'THE BOOKS': Millie E.
    [Show full text]
  • La Pertinence Du Judson Dance Theater Pour L'histoire De L'art
    UNIVERSITE DU QUÉBEC À MONTRÉAL LA PERTINENCE DU JUDSON DANCE THEATER POUR L'HISTOIRE DE L'ART: ÉTUDE DES LIENS FORMELS, THÉORIQUES ET HISTORIQUES ENTRE LA DANSE ET LES ARTS VISUELS LORS DE LA PÉRIODE DE 1962-1967 MÉMOIRE PRÉSENTÉ COMME EXIGENCE PARTIELLE DE LA MAÎTRISE EN ÉTUDES DES ARTS PAR MARJORIE GIGNAC SEPTEMBRE 2009 UNIVERSITÉ DU QUÉBEC À MONTRÉAL Service des bibliothèques Avertissement La diffusion de ce mémoire se fait dans le respect des droits de son auteur, qui a signé le formulaire Autorisation de reproduire et de diffuser un travail de recherche de cycles supérieurs (SDU-522 - Rév.û1-20û6). Cette autorisation stipule que «conformément à l'article 11 du Règlement no 8 des études de cycles supérieurs, [l'auteur] concède à l'Université du Québec à Montréal une licence non exclusive d'utilisation et de publication de la totalité ou d'une partie importante de [son] travail de recherche pour des fins pédagogiques et non commerciales. Plus précisément, [l'auteur] autorise l'Université du Québec à Montréal à reproduire, diffuser, prêter, distribuer ou vendre des copies de [son] travail de recherche à des fins non commerciales sur quelque support que ce soit, y compris l'Internet. Cette licence et cette autorisation n'entraînent pas une renonciation de [la] part [de l'auteur] à [ses] droits moraux ni à [ses] droits de propriété intellectuelle. Sauf entente contraire, [l'auteur] conserve la liberté de diffuser et de commercialiser ou non ce travail dont [il] possède un exemplaire.» « Dance is when you decide ta recognize il, when you let il, when you see it or say il, when you do it, and il doesn 't matter where this happens.
    [Show full text]
  • Carolee Schneemann, Sanctuary: Judson’S Movements, Artforum, Vol
    E s ARIFORUM H A L CAROLEE SCHNEEMANN Carolee Schneemann, Sanctuary: Judson’s Movements, Artforum, Vol. 57, September 2018, p. 231, 238-239 London, 7 Bethnal Green Road, El 6LA. + 44 (0)20 7033 1938 New York, 547 West 20th Street, NY 10011. + 1 646 590 0776 www.halesgallery.com f W � @halesgallery H A L E s CATHERINEDAMMAN DEBORAHHAY CLAUDIALA ROCCO YVONNERAINER CAROLEESCHNEEMANN DEBORAHJOWITT LA MONTEYOUNG DOROTHEAROCKBURNE BARBARAMOORE STEVEPAXTON ON JULY6 , 1962 , seventeen members and affiliates of Robert Ellis Dunn's composition class convened at the Judson Memorial Church in Greenwich Village for an unorthodox concert of dance , "There should have been something for everybody , including a nap if desired ," wrote the critic Jill Johnston in her ebullient Village Voice review. "In fact there was so much that special moments arose as expected and at least three dances provoked a big response from everybody." That evening and some evenings after collec­ tively became known as the Judson Dance Theater. The program was a signpost for both democracy and postmodernism , an unlikely pair. Probably it didn't have much to do with either. Probably the wax of nostalgia obscures harsh realities. But it remains an attractive parable for how some brilliant young people made movements together , and how that togetherness was-like all togethernesses-a tricky congregation of differences amid a sameness. This month, "Judson Dance Theater : The Work Is Never Done " opens at the Museum of Modern Art in New York. In honor of the occasion , Artforum invited art historian CATHERINE DAMMAN and writers DEBORAHJOWITT and CLAUDIA LA ROCCO to consider the performances ' influence and legacies.
    [Show full text]