And David Gordon Decides to Do a Solo Performance in May. #2 David Don’T Consider What He’S Gonna Do for an Entire Solo Evening

Total Page:16

File Type:pdf, Size:1020Kb

And David Gordon Decides to Do a Solo Performance in May. #2 David Don’T Consider What He’S Gonna Do for an Entire Solo Evening David Gordon ‘70s ARCHIVEOGRAPHY - Part 2 1 #1 In 1973 - Grand Union gets a 1st NYSCA grant for $2400.00 - to produce 1 weeka home town performances. Instead - the group rents a space for 2 months - April’n May - to produce their own performances - and the work of artist friends. Grand Union does 17 performances insteada 7 - and David Gordon decides to do a solo performance in May. #2 David don’t consider what he’s gonna do for an entire solo evening. He is used to performing set material with Valda - and company. Used to improvising with G.U. Not used to being alone on stage. st Not since 1 3 Judson solos. (see ‘60s ARCHIVEOGRAPHY - Part 1) #1 David notices - his peers begin to claim turf. I - soMeone says - was 1st - to do something something. I did it before she did - soMeone says. My version was definitive - soMeone else says. David begins his solo performance by rotating his index finger. He claiMs he invented the rotating index finger. David’s rotating index finger predates all circular movement - he says - ethnic spinning - double’n triple pirouettes - pelvic grinds - twirling pony tails and sung “rounds”. He maKes a list n’takes props’n costume changes - and music - for his solo. HE SPEAKS -SINGS’N DANCES - FOR AN HOUR OR SO. DAVID DON’T COUNT ON HOW SCARED HE WILL BE - AND HE NEVER DOES IT AGAIN - except for the 1st Spilled Milk concert when Valda has the accident. David Gordon ‘70s ARCHIVEOGRAPHY - Part 2 2 MAY 1973 SOLO PERFORMANCE #2 IN 1974 - NYSCA REWARDS GRAND UNION’S AMBITIOUS PRODUCING ADVENTURE - BY CUTTING THE NEXT YEAR’S GRANT TO $1800.00. WE DECIDED - NYSCA PROGRAM DIRECTOR SAYS - YOU ARE AN IMPROVISATIONAL COMPANY - YOU DON’T NEED MONEY TO REHEARSE. David Gordon ‘70s ARCHIVEOGRAPHY - Part 2 3 ALSO IN 1974 - RICHARD NIXON RESIGNS THE OFFICE - ê - OF PRESIDENT OF THE UNITED STATES. ALSO - JUNE 1974 - VALDA SETTERFIELD IS IN A CAR HIT BY A LONG ISLAND RAILROAD TRAIN. #1 David leaves by train for Washington DC - to guest perform with Trisha Brown and company at the Kennedy Center. Friend Norma Fire picks up 12-year-old Ain Gordon - inna morning - to spend the day with her. #2 Valda leaves 54 Charles Street inna suicide seat of a car - with a woman driver she don’t know - to look at a suMMer rental. Car is hit’n dragged by a Long Island Railroad train’n hits a telephone pole. Valda goes partially through the windshield. Found dazed and bloody in the car - she’s taken to hospital in Riverhead - Long Island. Manages to call Norma in New York. Valda says - I won’t be home today and would you mind putting the lamb chops back in the freezer? #1 Norma can’t get holda David in Washington till after Trisha Brown’s 1st evening performance. 1st Amtrak train to Penn Station is 5 inna morning. July of 2014 - Valda reminds him - he stays awake and dressed - to be safe. Watches MGM’s 1940 Pride and Prejudice onna Late Show on TV. Greer Garson’n Laurence Olivier - she says he said - till he can get a cab to the station to catch the 1st train to get to her. David calls Ain and Norma from Penn Station when he arrives - and gets a Long Island Railroad train to Riverhead - and cabs to the hospital. He says he’s Valda Setterfield’s husband and where is she? She smiles - he says - as he kneels at her bedside to take her hand. #2 I’ve been worried about you - Valda says. Is Ain okay? She smiles. You must be hungry - she says - after such a long trip. There’s fresh strawberries in that closet - she points. Would you mind taking the strawberries home? It’s a pity to waste them. Oh - and your white shawl collared cardigan I borrowed is in the closet too - she says. David Gordon ‘70s ARCHIVEOGRAPHY - Part 2 4 #1 Valda is more out of it then she knows - or David knows. She don’t remember the lamb chop phone call. She remembers the strawberries - and the off duty nurse who pours warm water on her belly - n’gently massages till she can pee. To avoid the catheter - she says - the nurse says. A less nice nurse wheels her to a room. Stands her up’n abandons her - to exit and take x-rays. Valda is cold - and terrified to stand alone.. #2 David - his back to Valda - opens the metal doorsa the narrow hospital closet. He sees the bloody white sweater’n smashed boxes - of squashed strawberries. He don’t say anything. Valda says - d’ya see the strawberries? We stopped to buy ‘em at a roadside stand - they looked so good - she says. David turns around. Valda has such a lotta stitches in her face. He startsta cry. #1 Don’t worry - Valda Setterfield says - I’ll be okay” she says - better get me vitamin E for the scars. ALSO IN 1974 – SPILLED MILK VARIATIONS IS PERFORMED - ê - AT PAULA COOPER GALLERY IN SOHO. #2 1974 - Valda’s supposeta be in Spilled Milk concert. She’s in Riverhead hospital after the train/car accident. David visits her in the day n’performs inna evening. #1 He is surprised to learn, when he sees the mailer, he performed solo 1 of the 2 evenings wearing dark glasses. Surprised he perforMed solo. Surprised at the darK glasses. #2 July of 1973, Valda and David are in Paris. WalKing’n worKing daily - David develops gestural hand action inna streetsa Paris. Teaches hand’n walKing in Spilled Milk to Valda’n 8 dancers. David Gordon ‘70s ARCHIVEOGRAPHY - Part 2 5 #1 1974 - Valda don’t perforM in - or see - Spilled Milk after the accident. Spilled Milk is perforMed 2 times at Paula Cooper Gallery. David never does it again. Valda and her nutritionist - Dr. PressMan - believe in Vitamin E for scars. The Riverhead Hospital doctor doesn’t. David sneaKs VitaMin E to Valda inna hospital. He asKs friend Florence Rothauser to drive ‘em hoMe in her too small car. He don’t wanna wait an extra day to taKe her hoMe in an ambulance. Ain sees Valda arrive froM his bedrooM window. Inna hall Ain leans over the bannister. Watches Valda cliMb 2 flightsa stairs’n stop to rest at each landing. #2 Valda begins to realize how little she can do. After 4 or 5 days - she thinks - as she gets better in a way she gets worse. She can’t sit up in bed by herself - and she can’t get outta bed without help. David straddles her - hands behind her neck to pull her into a sitting position. He cliMbs off’n takes her hands - pulls her gently to standing. She smiles at Ain but he’s afraid to touch her. #1 She finds a paperback to read. She don’t remember reading it. She opens the “new” booK. Finds Valda Setterfield written inside the cover. She cries. David helps her dress to go to a dance concert with her friend Meg Harper. She’s terrified - she tells David - when she suddenly realizes - she can’t remember - how she got there. There are long and frequent periods of not Knowing where I aM - she says. Or how I got here. Or there. Or wherever it is I aM. Sudden or loud noises - frighten her - activities in the street are paralyzing. #2 Before the accident, Valda decides to leave Merce CunninghaM's coMpany. She dances with hiM for 10 years. She’s alMost 40. What’ll she do - she says - if she’s not a dancer at all? What’ll David do if Valda’s not a dancer? #1 The accident happens in early suMMer of 1974. Facial scars are healing with vitamin E by the enda suMMer. Valda goes bacK to Merce for a project she previously coMMitted to. But she don’t pick up MoveMent as quick as she useta - she thinks. Merce says not to worry - like any injury it taKes time - but he agrees with her. Yes - she’s slower. Valda is undone. #2 What if Valda could learn something new? Something she never did before? So she don’t have anything to compare it to? Something new’n hard to do - so her sturdy British resilience will kick in? Sounds like a Hollywood movie screenplay but David has no other plan. #1 1974 - the Cunningham company’s on tour but Valda has a studio key. David convinces her to walk with him from Charles Street’n 7th Avenue to Westbeth. Traffic bewilders her. She needsta rest on a wood bench at Abingdon Square. A wood bench is inna studio. He suggests they do “he loves me - he loves me not” - from Giselle. He suggests’n she humors him. She mimes flower plucking. They move along the bench till he falls off. Valda laughs at him. He’s thrilled to make her laugh. They go to the studio again’n again’n use the bench each time. Sit on it - stand on it - move around it. Cunninghams return’n Lucinda Childs generously lends ‘em her brand new studio at 541 Broadway. No bench. There’s blue metal folding chairs - from Buffalo Roadhouse - a 7th Avenue chicken wing joint. Lucinda buys ‘em at the enda the outdoor season. Gonna use the chairs - she says - for audiences - to see her work in her new studio. David and Valda still have - in 2016 - 5 of Lucinda’s blue chairs. #2 David has no therapeutic plan - and he’s not making art.
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]
  • 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.
    [Show full text]
  • <Ecjtl5"-Uen/)IIS
    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.
    [Show full text]
  • 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
    [Show full text]
  • The Archeology of ''Street Dance'' by Lucinda Childs
    The archeology of ”Street Dance” by Lucinda Childs Julie Perrin To cite this version: Julie Perrin. The archeology of ”Street Dance” by Lucinda Childs. Danza e ricerca. Laboratorio di studi, scritture, visioni, Dipartimento delle Arti, Alma Mater Studiorum-Università di Bologna, 2019, pp.93-109. 10.6092/issn.2036-1599/10294. hal-02455404 HAL Id: hal-02455404 https://hal.archives-ouvertes.fr/hal-02455404 Submitted on 26 Jan 2020 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. Julie Perrin The archeology of Street Dance by Lucinda Childs The document is not the fortunate tool of a history that is primarily and fundamentally memory; history is one way in which a society recognizes and develops a mass of documentation with which it is inextricably linked. Michel Foucault 1 The six-minute choreography takes place in front of Wells Fargo History Museum in Philadelphia. Two dancers, Janet Pilla and Michele Tantoco, wearing shorts and a brightly colored top, are clearly addressing an audience using strong mimicry, smiles, poses or large movements. They seem like gra- ceful, athletic and cheerful receptionists. We can hear the audience laugh, probably positioned on the 1st floor of the opposite building.
    [Show full text]
  • Performance Art and the American Post-Modern Dance of the Judson Dance Theater
    Performance Art and the American Post-Modern Dance of the Judson Dance Theater MICHELLE MOURA RELÂCHE – CASA HOFFMANN e-MAGAZINE | 2004 1 Performance Art and the American and their lives. The Fluxus movement,1 for instance, Post-Modern Dance of the Judson Dance Theater emphasized the motto ‘life above art’: “they wanted to suppress the idea that art has special qualities. Art should Michelle Moura match life, and life should match art, for the most fas- cinating and interesting things are into life” (SMITH, 1991, p.55). Some North American choreographers at that time were also dealing with the same question: how to bring art closer to their lives. At ‘Perform: a workshop on body and action’, by André Lepecki and Eleonora Fabião, performance art was ex- Based on this concept of bringing art and daily life to- perienced as a present happening, the here and now, by gether, I made use of the introduction of Eleonora and touching the limits between art and real life. André’s workshop about performance and live art as a hint. So, I decided to write about the Judson Dance “This is not the place for rehearsals or classes. This is a Theater, an important group of artists from the 1960s place for experiments and performance.” This statement which was responsible for the creation of the so-called was repeated several times by Eleonora and André, and American post-modern dance, by bringing about new was the propeller of a series of experimentation tasks, in and revolutionary notions on choreographic structures which there was definitely no space for elaborating or re- and postures.
    [Show full text]
  • PDF Released for Review Purposes Only. Not for Publication Or Wide Distribution
    JUDSON Giampaolo Bianconi is Thomas J. Lax is Associate Julia Robinson is Associate In the early 1960s, an assembly of choreographers, visual artists, composers, and Curatorial Assistant in the Curator in the Department of Professor of Modern and filmmakers made use of a church in New York’s Greenwich Village to present Judson Dance Theater The Work Is Never Done Department of Media and Media and Performance Art Contemporary Art at New performances that redefined the kinds of movement that could be understood as Performance Art at MoMA. at MoMA. York University. She is the dance—performances that Village Voice critic Jill Johnston would declare the most editor of the October Files exciting in a generation. The group was Judson Dance Theater, its name borrowed Harry C. H. Choi is a Twelve- Victor “Viv” Liu was a volume John Cage (2011) from Judson Memorial Church, the socially engaged Protestant congregation Month Intern in the Department Seasonal Intern in the and the author of a forthcom- that hosted the dancers’ open workshops. The Judson artists emphasized new DANCE of Media and Performance Art Department of Media and ing book on George Brecht. compositional methods meant to strip dance of its theatrical conventions and fore- at MoMA. Performance Art at MoMA. Robinson is an active curator. grounded “ordinary” movements—gestures more likely to be seen on the street or at home. Although Judson Dance Theater would last only a few years, the artists affili- Vivian A. Crockett is the Jenny Harris is Curatorial Gloria Sutton is Associate ated with it, including Trisha Brown, Lucinda Childs, Philip Corner, Bill Dixon, Judith 2017–18 Andrew W.
    [Show full text]
  • Press Release
    For Immediate Release For Press Information and Reservations, Contact: Abigail Ramsay (212) 674-5856; [email protected] Danspace Project presents Platform 2010: Back to New York City Elaine Summers Dance and Film Company Improvisation with Sun, Moon & Stars: An Evening of Intermedia Premieres and Retrospectives March 18-20, 2010• [Thu-Sat]• 8:00 PM Location: Danspace Project, St. Mark's Church, 131 East 10th Street, NY (6 to Astor Place; R/W to 8th Street/NYU; L to 3rd Ave.) General Admission: $18 ($12 for members) Tickets: www.danspaceproject.org or (866) 811-4111 Please note new Danspace Project curtain is 8:00 PM Elaine Summers, a pioneering explorer of Intermedia: interaction between film, dancers, music, and dancers in film, joins Danspace Project’s Platform 2010: Back to New York with a three-evening constellation of premieres and retrospectives and two conversations on art, women and the media, from Thursday, March 18 to Saturday, March 20. “I’m in love with light and movement and bodies and this is why I choreograph dances and make films…Exploration of light and movement naturally led me to filmmaking. Film to me is another form of dance: camera movement and editing are another form of choreography.” - Museum of Modern Art catalogue “Evening with Elaine Summers” Intermedia artist Elaine Summers is one of the original Judson Dance Theater innovators whose work from the 1960s forward has investigated movement, film, light, sound and new technologies. The Danspace program includes the Guggenheim Museum commission Crow’s
    [Show full text]
  • For a Brief Period in the Early 1960S, a Group of Choreographers, Visual
    For a brief period in the early 1960s, a group of choreographers, visual artists, composers, and filmmakers made use of a local church to present performances that Village Voice critic Jill Johnston declared the most exciting new developments in dance in a generation. Redefining the kinds of movement that could count as dance, the Judson participants—Trisha Brown, Lucinda Childs, Philip Corner, Bill Dixon, Judith Dunn, David Gordon, Alex Hay, Deborah Hay, Fred Herko, Robert Morris, Steve Paxton, Rudy Perez, Yvonne Rainer, Robert Rauschenberg, Carolee Schneemann, and Elaine Summers, among others—would go on to profoundly shape all fields of art in the second half of the 20th century. Taking its name from the Judson Memorial Church, a socially engaged Protestant congregation in New York’s Greenwich Village, Judson Dance Theater was organized as a series of open workshops from which its participants developed performances. Together, the artists challenged traditional understandings of choreography, expanding dance in ways that reconsidered its place in the world. They employed new compositional methods to strip dance of its theatrical conventions, incorporating “ordinary” movements—gestures typical of the street or home, for example, rather than a stage—into their work, along with games, simple tasks, and social dances to infuse their pieces with a sense of spontaneity. Judson Dance Theater: The Work Is Never Done highlights the ongoing significance of the history of Judson Dance Theater, beginning with the workshops and classes led by Anna Halprin, Robert Ellis Dunn, and James Waring and exploring the influence of other figures working downtown such as Simone Forti and Andy Warhol, as well as venues for collective action like Judson Gallery and the Living Theatre.
    [Show full text]
  • 537 BROADWAY: Performance and Buildings
    537 Broadway Performance and Buildings Agustin Schang I ince 1974, like many other spaces in downtown Manhattan, the 537-541 Broadway cast-iron building became the headquarters of an artists’ commu- Snity that worked outside the conventional borders of the art system. Moved by the co-operative housing spirit that took roots in SoHo during the late 1960s and early 1970s, Fluxus leader George Maciunas helped to buy and refurbish many commercial lofts formerly used by marginal business in the neighborhood.1 In 1967, he organized the acquisition of the first building on 80 Wooster Street, which he named FluxHouse II, after a first attempt on Spring Street. He kept the basement as his personal operation base, and from there, he ran the entire Fluxhouse project: the first artists’ co-op initiative in SoHo. Beyond residences and studios, Maciunas hoped to establish collective workshops, food-buying co- operatives, and theatres to link the strengths of various media and bridge the gap between the artists and the neighborhood. He materialized his utopian planning impulses through detailed projections of construction costs and the benefits of wholesale purchases. He was convinced that legal prohibitions could be overcome, despite the fact that SoHo was not zoned for residential use. He established himself as the president of Fluxhouse Co-operatives, Inc., performing all the organizational work involved in the planning. He was in charge of creating the collectives, purchasing buildings, obtaining mortgages, securing legal and architectural services, and conducting work as a general contractor for all renovations. He also offered to handle the future management, if so desired by the members.
    [Show full text]
  • JUDSONOW the Work Is Never Done
    DANSPACE PROJECT PLATFORM 2012: JUDSONOW The work is never done. Sanctuary always needed. -Steve Paxton In Memory of Reverend Howard Moody (1921-2012) 3 Published by Danspace Project, New York, on the occasion of PLATFORM 2012: Judson Now. First edition ©2012 Danspace Project All rights reserved under pan-American copyright conventions. No part of this publication may be reproduced or utilized in any form or by any means without permission in writing from the publisher. Every reasonable effort has been made to identify owners of copyright. Errors or omissions will be corrected in subsequent editions. Inquires should be addressed to: Danspace Project St. Mark’s Church in-the-Bowery 131 East 10th Street New York, NY 10003 danspaceproject.org EDITOR-IN-CHIEF Judy Hussie-Taylor EDITOR AND SCHOLAR-IN-RESIDENCE Jenn Joy MANAGING EDITOR Lydia Bell CURATORIAL FELLOW Katrina De Wees RESEARCHER Adrienne Rooney PHOTOGRAPHER-IN-RESIDENCE Ian Douglas WRITERS-IN-RESIDENCE Huffa Frobes-Cross Danielle Goldman PRINTER Symmetry DESIGNER Judith Walker Cover image: Carolee Schneemann, Score for Banana Hands (1962). Photo by Russ Heller. DANSPACE PROJECT PLATFORM 2012: JUDSONOW JUDSON Remy Charlip Feinberg Geoffrey Hendricks PARTICIPANTS Pandit Chatur Lal Crystal Field Donna Hepler 1962-66*: Lucinda Childs William Fields Fred Herko Carolyn Chrisman June Finch Clyde Herlitz Carolyn Adams Nancy Christofferson Jim Finney George Herms Charles Adams Sheila Cohen Pamela Finney Geoffrey Heyworth Olga Adorno Klüver Hunt Cole George Flynn Dick Higgins Felix Aeppli
    [Show full text]
  • Playing Images Like a Musical Instrument
    ------ - --- UNIVERSITÉ DU QUÉBEC À MONTRÉAL IMPROVISATORY LIVE VISUALS: PLAYING IMAGES LIKE A MUSICAL INSTRUMENT THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ART STUDIES AND PRACTICES BY KATHERINE LIBEROVSKAYA SEPTEMBER 2014 UNIVERSITÉ DU QUÉBEC À MONTRÉAL Service des bibliothèques Avertissement La diffusion de cette thèse 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.01-2006). 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. » -------~~------ ~ - UNIVERSITÉ DU QUÉBEC À MONTRÉAL LES VISUELS LIVE IMPROVISÉS: JOUER DES IMAGES COMME D'UN INSTRUMENT DE MUSIQUE THÈSE PRÉSENTÉE COMME EXIGENCE PARTIELLE DU DOCTORAT EN ÉTUDES ET PRATIQUES DES ARTS PAR KATHERINE LIBEROVSKAYA SEPTEMBRE 2014 ACKNOWLEDGEMENTS This doctoral thesis wou Id ne ver have been possible without the priceless direct and indirect help of a number of people.
    [Show full text]