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Thesis R1.Indd The Falling Dance An analysis of Royden Rabinowitch’s jazz sculptures connected to Thelonious Monk and J. Bernlef Master Thesis, Art History University of Amsterdam mw. prof. dr. C.M.K.E. Lerm-Hayes dhr. prof. dr. W. van de Leur 12th of July, 2017 Chrisje Loman, 10362592 The Falling Dance An analysis of Royden Rabinowitch’s jazz sculptures connected to Thelonious Monk and J. Bernlef Master Thesis, Art History University of Amsterdam mw. prof. dr. C.M.K.E. Lerm-Hayes dhr. prof. dr. W. van de Leur 12th of July, 2017 Chrisje Loman, 10362592 The Falling Dance Preface I still vividly remember a jazz concert of Raise the Roof my mom and dad took me to when I was seven years old. The band played at the Jazz festival in my home town on a warm summer day, I remember, but maybe it just felt so warm because I was dancing and jumping the whole concert long - after the saxophone player convinced me to. Five months ago, I searched for a subject to write my thesis on. The only thing I knew was that I wanted to write about visual art related to jazz music. During my bachelor and master Art History, I filled my elective space with courses like History of Jazz, Duke Ellington & Billy Strayhorn and Reading Black Music, developed and taught by Walter van de Leur – who triggered my interest in Jazz music even more. After following the very inspiring course Word & Image - developed by Erin la Cour and Christa-Maria Lerm Hayes, of which I learned to think broader and more critical about visual art - I asked professor Lerm Hayes to be my thesis supervisor. I am glad she helped me through my research process and, in particular, I am very grateful for her inspiring words and for giving me the courage to write this thesis. Moreover, I am glad she introduced me to the work of Royden Rabinowitch and told me about him being inspired by jazz music. I was not used to write about contem - porary, abstract art let alone about an artist who was still alive and was surprised by Rabinowitch being so approachable, I was able to visit him and his private collection in Ghent. The artist lives in a quiet, beautiful and old part of Ghent in what looks like a sheet iron shack1. Royden Rabinowitch welcomed us with warmth and began almost immediately talking about his works exhibited there. What struck me was how he was so entirely dedicated and full of passion when talking about his works – later I understood he had to, almost like a necessity. After this first visit, 1 J. Bernlef. ‘Sintels’. De Noodzakelijke Engel. Querido’s Uitgeverij B.V., Amsterdam: 1990. Preface I went to Ghent twice more but Rabinowitch always took his time in order to answer all my questions by a mobile phone call or through a comprehensive email I got almost right away. I am particularly grateful to Rabinowitch for being so generous and full of patience in order to help me understand his art. Without those long conversations, I was never able to write my thesis. Throughout this text, I used a lot of elements from those conversations passim.2 This also applies to the interesting conversation I had with curator Frank Maes, who is working on his PhD on Royden Rabinowitch. Due to this, he could help me through some important mathematical theories and gave me insight to his loving Flemish masters; Pieter Breughel the Elder and Jan van Eyck - both painters are very special to Rabinowitch. It was my dad who pointed me to the beautiful poems of J. Bernlef, his friend Kees who helped me translate them into English. My cousin Simon took the time to check my full thesis for English and my uncle Gerard made sure the layout looks stunning. Thank you all! At the age of twelve, Rabinowitch too was taken to a jazz concert by his mom and dad: he saw The Thelonious Monk Quartet live in the Five Spot Café, New York. He often mentioned how fortunate he was being surrounded by inspiring people who helped him to give expression to the tension he found himself in. In this line, I want to say thanks to the people who unconditionally believed in me and gave me all the trust and support to write this thesis. 2 Lerm Hayes, Christa-Maria. ‘Concerning the Work of Royden Rabinowitch: Our Disenchanted Ontology and Paradoxical Hope’. Royden Rabinowitch: Ghent. Gent: AsaMER, 2014. 21-36. 4 The Falling Dance Table of Contents 1 Introduction 5 1 Research question 2 Monk’s falling dance 3 Literature on jazz, poetry and visual art 2 Formative years of Royden Rabinowitch 18 3 People made bebop 1 The Birth of Bebop 2 Thelonious Monk 4 J. Bernlef 29 1 Biography 2 The Necessary Angel (1990) 3 Fixing Spontaneity? 5 Rabinowitch’s jazz sculptures 35 1 Throwing away cinders 2 Ellipse Developed through Right Angles – For John Coltrane. (1964) 3 Lesson of Wilbur Ware – for Abraham Robinson (1985) 4 Stan & Ollie or Handed Opposed Conic of One Size Bundled – for Shadow Wilson (1988) 5 Stan & Ollie or Handed Operator Bundle Construction trough Three Axes – for Thelonious Monk (1992) 6 Excursus: Bernlef, Rabinowitch & Breugel 6 Conclusion 61 7 Lists 63 Appendixes 66 Introduction 5 1 Introduction 1 Research question This thesis investigates the paradox of structure and spontaneity. Central to the work of the Canadian artist Royden Rabonowitch (Toronto, 1943) is the gap between the world of scientific facts and human values, a paradox he saw being solved in a jazz concert. In the summer of 1957, Rabinowitch’s father took him to New York City to see the Thelonious Monk quartet playing in the Five Spot Café. From July that same year, Monk began what turned out to be a six-month stay at this Café, playing six nights a week, four sets a night. It was his first long-term engagement as leader and Monk brought in his own quartet: John Coltrane on saxophone, Wilbur Ware on bass and Shadow Wilson on drums.3 Monk’s music, but in particular his dancing (after he played his part in his quartet and another member played a solo), was incredibly revealing to the twelve year old Rabinowitch: Monk’s spontaneous music issues from the structure of a piano and his spontaneous dancing to his sidemen’s music, acknowledges to everybody the limits of the structure that produced his music. Monk’s music and dance, for me, is the ideal model of the acknowledgement that I am always seeking.4/5 Another artist who is searching for the ideal balance between improvisation and composition, the balance between structure and spontaneity, is the Dutch poet and writer J. Bernlef (1937 - 2012).6 In his work, Bernlef is searching for the impossible, 3 Kelly, Robin D.C. Thelonious Monk: The Life and Time of an American Original. New York: Free Press, 2009 4 Rabinowitch, Royden. ‘Modern Onthology: The corollary of Modern Physics and the Content of my Art’. Institute for quantum computing University of Waterloo, Canada. 26 Mar. 2009. Lecture 5 ‘Royden Rabinowitch on J. Bernlef.’ E-mail interview. 25 Mar. 2017 6 Pseudonym for Hendrik Jan Marsman, Sint Pancras, 14 January 1937 – Amsterdam, 29 October 2012 6 The Falling Dance ‘The paradox: writing a poem in which every line is irreplaceable while at the same time the poem contains a naturalness, a colloquial language-like improvisation. Perfection with a puncture is where I am looking for.’7 Bernlef too, found this balance being explored in Thelonious Monk’s music. In his novel Hoe van de trap te vallen: Jazz verhalen, the writer compares a solo of the jazz pianist with somebody who is falling off the stairs.8 In between 1964 and 1992, Rabinowitch constructed four sculptures addressed to members of the Thelonious Monk Quartet. Noticeable is that it took Rabinowitch several years to find a form that expressed Thelonious Monk’s dance - the sculpture for John Coltrane was made twenty-eight years before. It was curator Frank Maes who brought the works together in one room in a private collection of Rabinowitch’s work in Ghent, Belgium.9 The four works incorporate countless values and facts, which are not explicit on first acquaintance. The abstract, geometrical forms, made out of steel and wood, seem accidentally placed into space. However, by reading myself into Rabinowitch’s lectures, the scientific revolution of Newton as well as listening to live recordings of the Five Spot Sessions of 1957, Rabinowitch constructions seem to reveal themselves to me. Rabinowitch’s works do not lend themselves to have one fixed, factual explana- tion. There always needs to be ‘a puncture’: my personal experience of the object in space. Rabinowitch states that, in order to live in the tension of separated dimensions, we have to take seriously our internal rhythms. ‘Reading a work in purely abstract terms and simultaneously get engaged with its meaning and identity, that is the core 7 Bernlef, J. Perfectie met een Gaatje. Reflex: Utrecht, 1981. 12 8 Bernlef, J. Hoe Van De Trap Te Vallen: Jazz Verhalen. Amsterdam: Querido Uitgeverij B.V, 2006 9 The collection belongs to Karel and Martine Hoofd Introduction 7 of our secular consciousness’ he explains. There is no perfect answer, no purpose, just this specific moment: like Monk’s dance. My analysis of Rabinowitch’s jazz sculptures will be based on the disciplines form, sound and word: Rabinowitch’s constructions together with the 1957 live recordings of Monks Quartet at the Five Spot Café10/11, Carnagy Hall12 and J.
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