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 Curator, with Martha Joseph, 1960s, a group of choreographers, and video artist Charles Atlas has Curatorial Assistant, Department visual artists, composers, and made an installation of historical of Media and . Performances are produced filmmakers gathered in Judson moving-image material related by Lizzie Gorfaine, Producer, Memorial Church, a socially engaged to the work of the choreographers with Kate Scherer, Manager, Protestant congregation in New featured in the performance Performance and Live Programs. York’s Greenwich Village, 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 from these workshops incorporated both individual and group pieces by Hyundai Card. 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, structures were based on games, of the soloist to the ensemble and The Jill and Peter Kraus Endowed simple tasks, and social . showing how Judson influenced the Fund for Contemporary Exhibitions, and by MoMA’s Wallis Spontaneity and unconventional later careers of these artists. Annenberg Fund for Innovation methods of composition were To create the segment dedicated to in Contemporary Art through the emphasized. The Judson artists , Atlas collaborated Annenberg Foundation. investigated the very fundamentals with Trisha Brown Dance Company’s Major support is provided by of , stripping dance former archivist Cori Olinghouse. Jody and John Arnhold and by of its theatrical conventions, The Contemporary Arts Council of The . and the result, according to For decades, Atlas (American, VILLAGE VOICE critic Jill Johnston, b. 1949) has brought together Generous funding is provided was the most exciting new dance dance and media in ways that have by The Harkness Foundation for Dance. in a generation. Through live transformed how performance is performance, film, photography, documented. Atlas moved to New Additional support is provided by sculptural objects, musical scores, York in 1969 and soon started the Annual Exhibition Fund with major contributions from the poetry, and archival materials, working with the Estate of Ralph L. Riehle, Alice and : THE WORK Dance Company as stage manager, Tom Tisch, Mimi and Peter Haas IS NEVER DONE traces the history lighting designer, and in-house Fund, Brett and Daniel Sundheim, Karen and Gary Winnick, The of Judson Dance Theater both in filmmaker. He left the Cunningham Marella and Giovanni Agnelli Fund and outside the church, from the company in 1984 but continued to for Exhibitions, and Oya and workshops that took place there collaborate with Cunningham while Bülent Eczacıbaşı. to other spaces around downtown making his own films and working MoMA Audio is supported by New York. with other artists, dancers, Bloomberg Philanthropies. musicians, and poets. Atlas has The program in the Donald B. and introduced new possibilities Catherine C. Marron Atrium is for representing dance on screen, organized into multiple-week collapsing moments in time and segments, each of which focuses following performers with his on the work of one artist: Yvonne camera to better capture their Rainer, , David Gordon, movement through space. He also , , and contributed to PAST FORWARD, Trisha Brown. Additionally, a video a major Judson reunion in 2000 installation of related material, organized by dancer edited by the artist Charles Atlas, ’s White Oak will be on view. In the final Dance Project. weeks of the exhibition, Movement 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 Judson Dance Theater’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 WE SHALL RUN (1963) has 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 Grand MOVING-IMAGE PROGRAM Union, an improvisational group Rainer was key to forming in the TRIO A (1966), 1970s, which gathered some of the same performed in 1978 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 rehearsal excerpts year 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), performed in 1990

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 FROM GOLDBERG for JAG VILL GÄRNA TELEFONERA to his VARIATIONS (2017) student, Stephen Petronio, who Based on THE performed the work with Randy Warshaw. GOLDBERG VARIATIONS For this exhibition, Stephen Petronio BY J.S. BACH PLAYED Company will reconstruct the 1982 BY GLENN GOULD version and create new interpretations IMPROVISED BY STEVE of Paxton’s score. This program PAXTON (1986–92) also includes 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 MOVING-IMAGE PROGRAM halls and in the woods, among other unorthodox locations. SATISFYIN’ LOVER (1967), ...... STATE (1968), and SMILING Steve Paxton’s video installation (1969), performed WEIGHT OF SENSATION (2008) is on view 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), Moderna Museet, Stockholm, 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 Charles Atlas in collaboration with BELLY (1969), and Cori Olinghouse, the former archive PLANES (1968), director of Trisha Brown Dance Company performed in 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 MOVEMENT RESEARCH 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 CLASSES AND other movement-based forms. MR was WORKSHOPS founded in 1978 as the School for Movement Research and Construction, MR will be and has been hosting performances and offering classes, workshops at Judson Memorial Church workshops, reading since 1991. groups, and studies projects dialogues, transforming the Marron Atrium into a space for the creative process and education.

Classes are free and open to the public. For more information, including the full class schedule and how to register, please visit moma.org/ judsondance.

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 ANDY WARHOL 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 SOUTH 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 , to Judson Dance Theater. Made the 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 Warhol’s earliest films, including Judson Memorial Church, the socially reassess the Judson group’s such as climbing, leaning, standing, the newly digitized film reels engaged Protestant congregation continuing influence through or whistling. Simultaneously featured here in which the dancer in Greenwich Village that originally presentations, discussions, and and performances, the and choreographer skates and gazes housed Judson Dance Theater, this sound improvisations by artists, works were first presented at at himself nude. This screening full day of programs includes a scholars, and critics. This Reuben Gallery and the artist Yoko features JILL AND FREDDY DANCING screening of Shirley Clarke’s THE program, co-organized with Malik Ono’s loft, both in New York. (1963)—in which Herko performs (1961), a discussion Gaines, André Lepecki, and Fred with VILLAGE VOICE critic Jill about the mutual influence of art Moten of ’s The following works are performed: Johnston on a Lower East Side and religion, and performances Tisch School of the Arts Department ACCOMPANIMENT FOR LA MONTE’S “2 rooftop—and includes Warhol’s co-organized with Movement Research. of Performance Studies, is SOUNDS” AND LA MONTE’S “2 SOUNDS,” films of Johnston performing with Drawing connections between the presented as part of MoMA PS1’s CENSOR, HUDDLE, PLATFORMS, SLANT a broom at Warhol’s Factory. church’s past and present, the VW Sunday Sessions. BOARD. On selected dates SEE SAW The program also brings together program aims to highlight urgent and will also be performed, with Warhol’s Screen Tests featuring persistent questions about creative For ticketing information, visit special guests. Judson participants, including the expression and community organizing. momaps1.org. choreographer Lucinda Childs and the lighting designer Billy Linich. Free, no advance ticketing required

For ticketing information, visit moma.org/judsondance.

16 RELATED PROGRAMMING SPECIAL THANKS IMAGE CREDITS

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LECTURE PERFORMANCES POST-PERFORMANCE The curators gratefully acknowledge the contributions of Cover image: Peter Moore’s photograph of unidentified 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); Kevin November 20, 1963. © Barbara Moore/Licensed by VAGA ...... Ballon, Senior Graphic Designer; Ginny Benson, Assistant at ARS, NY. Courtesy Paula Cooper Gallery, New York Performance Coordinator; Jonathan Berger, artist consultant THU, SEP 20 (galleries); Sara Bodinson, Director of Interpretation, Page 3: © Barbara Moore/Licensed by VAGA at ARS, NY. AN EVENING WITH YVONNE RAINER A conversation between Yvonne Research, and Digital Learning; Nina Callaway, Digital Courtesy Paula Cooper Gallery, New York MON, SEP 17, 7:00 P.M. Rainer and novelist and cultural Media freelancer; Harry C.H. Choi, 2017–18 Twelve-Month Intern, Department of Media and Performance Art; Laura Page 5: Images © Deborah Hay critic Lynne Tillman follows the Coppelli, Associate Director, Human Resources; Claire Yvonne Rainer presents the latest 12:30 p.m. performance. Corey, Production Manager, Graphic Design; Matthew Cox, Page 7: © Babette Mangolte; © Barbara Moore/Licensed by iteration of her REVISIONS: A Senior Production Designer; Vivian A. Crockett, 2017–18 VAGA at ARS, NY. Courtesy Paula Cooper Gallery, New York Museum Research Consortium Fellow, Department of TRUNCATED HISTORY OF THE UNIVERSE FRI, OCT 5 Media and Performance Art; Lee Ann Daffner, Photography Page 9: © Barbara Moore/Licensed by VAGA at ARS, NY. FOR DUMMIES. A RANT DANCE AND A conversation between Deborah Hay Conservator; Paul DiPietro, AV Technical Manager; Atheel Courtesy Paula Cooper Gallery, New York LETTER TO HUMANITY, an ongoing and MoMA’s Ana Janevski, curator Elmalik, 2016–17 Twelve-Month Intern, Department of Media and Performance Art; Elizabeth Gollnick, 2016–17 Page 11: Image courtesy Moderna Museet, Stockholm reflection on current events. in the Department of Media and Museum Research Consortium Fellow, Department of Media This program is presented as part Performance Art, follows the 2:00 and Performance Art; Natasha Giliberti; Lizzie Gorfaine, Page 13: © Trisha Brown Dance Company of Modern Mondays. For ticketing p.m. performance. Producer, Performance and Live Programs; Adelia Gregory, Associate Educator, Public Programs and Gallery Initiatives; Page 15: Image courtesy of Movement Research information, visit moma.org/ Leticia Gutierrez, Associate Educator, Learning Programs judsondance. SUN, NOV 4 and Partnerships; Aaron Harrow, AV Design Manager; Pablo Page 16: Simone Forti. Huddle, 1961. Performance. A conversation between Lucinda Helguera, Director, Adult and Academic Programs; Athena 10 min. Committee on Media and Performance Art Funds. Holbrook, Collection Specialist, Department of Media and © 2018 The Museum of Modern Art, New York. Performed ...... Childs and Suzanne Carbonneau Performance Art; Beatrice Johnson, Assistant Performance in Performance 2: Simone Forti, The Museum of Modern follows the 3:00 p.m. performance. Coordinator; Sarah Kennedy, Assistant Director, Learning Art, New York, March 7–8, 2009. Digital image © 2018 A LECTURE ON THE PERFORMANCE Programs and Partnerships; Rachel Kim, Senior Exhibition Yi-Chun Wu/The Museum of Modern Art, New York; Andy Manager; Tom Krueger, Assistant Manager, Art Handling and Warhol. Still from Jill and Freddy Dancing, 1963. © The OF BEAUTY THU, DEC 13 Preparation; Victoria Manning, Assistant Registrar; Maria Andy Warhol Museum, Pittsburgh, a museum of Carnegie THU, OCT 4, 7:00 P.M. A conversation between Steve Paxton Marchenkova, Assistant Editor, Publications; Christine Institute. All rights reserved and David Velasco, editor-in-chief Murray, Digital Media freelancer; Sasha Okshteyn, Assistant Performance Coordinator; Peter Oleksik, Associate Media Page 17: The Connection. 1961. USA. Directed by Shirley Deborah Hay presents her 2002 of ARTFORUM, follows the 3:00 p.m. Conservator; Peter Perez, Foreman of the Frame Shop; Clarke. Courtesy of Milestone Films and the Lewis Allen lecture-performance A LECTURE ON performance. Jason Persse, Editorial Manager, Marketing; Alethea estate; Fred W. McDarrah’s photograph of Cecil Taylor, THE PERFORMANCE OF BEAUTY. A Rockwell, Assistant Educator, Public Programs; Sammy Jimmy Lyons, and Andrew Cyrille (from left) performing Roth, Assistant Performance Coordinator; Damien Saatdjian, at the Five Spot Café, New York, April 18, 1975. © Fred W. reflection on dance and politics, Art Director; Alexis Sandler, Associate General Counsel; McDarrah/Premium Archive/Getty Images this lecture focuses on her solo ******************************** Kate Scherer, Manager, Performance and Live Programs; work O BEAUTIFUL, which was Jess Van Nostrand, Assistant Director, Exhibition Programs and Gallery Initiatives; Annie Wilker, Associate Paper also choreographed in 2002. For DANCE CONSTRUCTION WORKSHOPS Conservator; Sean Yetter, Producer, Digital Media; Lynda ticketing information, visit THE AGNES GUND GARDEN LOBBY Zycherman, Conservator moma.org/judsondance. 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. JAN 8 AT 12:30, 2:30 P.M. A series of programs at The Museum of Modern Art and MoMA PS1 is supported by a partnership with Volkswagen of America. Experience firsthand how dance was redefined in the 1960s in these Major support for VW Sunday Sessions is provided by the workshops based on Simone Forti’s Anna-Maria and Stephen Kellen Foundation. Dance Constructions. Free and open Major support for Adult and Academic Programs is to everyone ages 15 and above. provided by the Estate of Susan Sabel. Generous funding Space is limited and available on is provided by endowments established by Agnes Gund and Daniel Shapiro, The Junior Associates of The Museum a first-come, first-served basis. of Modern Art, Walter and Jeanne Thayer, and by the Sign-up begins thirty minutes gifts of Alan Kanzer. Additional support is provided by the before each workshop. Annual Education Fund.

18 VIDEO CREDITS VIDEO CREDITS

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