The Chevalier de la Barre, 11-28: Things that keep me up at 4 in the morning, or, why Judson’s work is far from done

momajudson alligator small

From the exhibition Judson Dance Theater: The Work is Never Done, running at the Museum of Modern Art through February 3: Al Giese’s photograph of Rudy Perez and Elaine Summers performing “Take Your Alligator with You,” 1963. Performed at Concert of Dance #7, Judson Memorial Church, New York, June 24, 1963. © Estate of Al Giese/Licensed by VAGA, New York, NY.

By Paul Ben-Itzak
Copyright 2018 Paul Ben-Itzak

In an era where the man with the most prized pulpit in the world is calling legitimate news fake, you’d think that publicists would be more judicious before employing hyperbole. You’d also think that the scholars and scientists employed by the world’s number one institution of modern art — where scholarship and the historical accuracy this implies should be primed — would take a look at the press releases before they’re sent out.

And yet there it is, on the first page of the Museum of Modern Art’s ‘expanded’ release for its exhibition Judson Dance Theater: the Work is Never Done, running through February 3 in New York:

“Redefining the kinds of movement that could count as dance, the Judson artists would go on to profoundly shape all fields of art in the second half of the 20th century.”

For the second part of this preposterous proclamation, I have one question: Where’s your proof?

For the first part the statement,  I can only concur with the second part of the exhibition’s title: Indeed, the work is never done.

URGENT: JOURNALIST/TRADUCTEUR AMÉRICAIN CHERCHE SOUS-LOCATION OU ÉCHANGE BONS PROCÉDÉS (LOGEMENT CONTRE TRAVAIL) EN RÉGION PARISIENNE POUR JANVIER-FÉVRIER-MARS

paul photo paris apartment

Journaliste et traducteur américain expérimenté, basé en Dordogne, cherche logement Parisien pour janvier-février-mars, pour pouvoir écrire sur la scène artistique parisienne. Sous-location ou échange des bons procédés logement – travail (Comm., gérance sites web, Traduction fr. – ang., Rédaction, Consultation art/s, Dramaturgie, DJ, pub sur mes sites: the Maison de Traduction et the Dance Insider & Arts Voyager, etcetera).  Références si besoin. Voici quelques infos me concernant (et sur mes multiples talents et atouts). Merci de me contacter  par mail a l’une des addressses suivant: paulbenitzak@gmail.com ou artsvoyager@gmail.com.

Schnabel in the Ring at the Orsay

Schnabel Tina in a matador hat smallJulian Schnabel, “Tina in a Matador Hat,” 1987. Oil, broken plates and Bondo on wood, 182.9 x 152.4 x 18 cm. Bischofberger Collection, Männedorf-Zurich, Switzerland, Inv. GBB No. 5027. © Julian Schnabel Studio / Photo by Phillips/Schwab. Featured in the exhibition “The Orsay as viewed by Julian Schnabel,” on view at the Paris museum through January 13. See below for more information.

20 years of telling stories not told elsewhere: Here’s a work I don’t ‘like.’ Which doesn’t mean it’s bad.

By Chris Dohse
Copyright 2005, 2018 Chris Dohse

(To receive the complete article, first published on October 14, 2005, subscribers please e-mail paulbenitzak@gmail.com. Not a subscriber? Subscribe to the DI for one year for just $36/year or $21 or Euros for students, as attested to by a copy of your student I.D., by designating your PayPal payment in that amount to paulbenitzak@gmail.com, or write us at that address to learn how to pay by check, and receive full access to all new articles plus our 20-year archive of 2000 reviews by 150 critics of performances and art exhibits on five continents.)

Schnabel, in exile at the Orsay

Schnabel The Exile Small

If one didn’t know it was 2018 in Paris, one might think it was 1985 in Greenwich Village, with what with Basquiat taking over the private Musée Louis Vuitton and his biographer Julian Schnabel invited to juxtapose his work with that of Van Gogh and Cezanne, Manet and Courbet in “The Orsay as seen by Julian Schnabel,” running through January 13. While we’re usually sceptical about such pairings — which seem to reflect more classic museums’ nervousness that even the Impressionists won’t sell without a modern angle to juice them up than any legitimate aesthetic scheme — with Schnabel it actually works, particularly when the New Yorker dialogues with the Dutchman Van Gogh. Both artists reflect a poverty-informed discomfort with their spendthrift eras. And neither is locked into his times. Besides its qualities as collage, Schnabel’s canvas “Exile” is a reminder that exiles come in all colors and stripes. Julian Schnabel, “Exile.” Oil and buck’s antler on wood. 228.6 x 304.8 cm. Männerdorf-Zurich, Courtesy Galerie Bruno Bichofberger, Inv. GBB No. 15325. © Julian Schnabel Studio / Photo by Phillips/Schwab.

Building the dance audience: Rat-faced Bastards in the Kitchen with Michelson

By Chris Dohse
Copyright 2003, 2018 Chris Dohse

(To receive the complete article, first published on April 18, 2003, subscribers please e-mail paulbenitzak@gmail.com. Not a subscriber? Subscribe to the DI for one year for just $36/year or $21 or Euros for students, as attested to by a copy of your student I.D., by designating your PayPal payment in that amount to paulbenitzak@gmail.com, or write us at that address to learn how to pay by check, and receive full access to all new articles plus our 20-year archive of 2000 reviews by 150 critics of performances and art exhibits on five continents.

On the road with Dorothea Lange

lange familyFrom the exhibition “Dorothea Lange: Politics of the Visible,” on view at the Jeu de Paume museum in Paris through January 27: Dorothea Lange, “Family on the road, Oklahoma,” 1938. © The Dorothea Lange Collection, the Oakland Museum of California.

20 Years of telling stories not told elsewhere: This ain’t no Hanoi Hilton

By Maura Nguyen Donohue
Copyright 2000, 2018 Maura Nguyen Donohue

(First published on the DI on August 4, 2000, this Flash Dispatch’s re-publication today is sponsored by Slippery Rock Dance . )

HANOI — Chao cac anh chi from Hanoi. I’ve been situated in the seat of a former enemy (to both of my half-selves, American and Vietnamese) for almost two weeks now. After only ten days in Southern China we decided to head to the capital of Vietnam so as to squeeze in a few days of language lessons. Unfortunately, Perry only seems to retain sentences that involve beer. This should make our impending visit with my mother’s family in Central Vietnam and our — ahem — wedding there interesting.

With its many lakes, shady boulevards and parks Hanoi is a more physically attractive city than Saigon. The maze of the charming 1000-year-old Old Quarter provides endless exposure to a rich cultural heritage. However, I have to admit to a heavy amount of apathy in my pursuit of contemporary performance here other than Quyen Van Minh’s Jazz Band (mostly Tom Petty and Nirvana covers). Art galleries abound but performances are harder to find. And my southern Vietnamese and American roots reveal themselves incessantly. The righteous rhetoric gets tiresome and I’ve been biased by a wonderful experience seeing work and talking to artists in the south three years ago about the challenges to artistry in a Communist country. Though people tell me today that things are better than five years ago, I must note that “better” is a relative term. That stated I was still able to enjoy yet another viewing of water puppets as well as a trip to the Central Circus and an unexpected audience for the ritual of an indigenous sect.

Based at the shore of Hoan Kiem Lake is the Municipal Water Puppet Theater (Roi Nuoc Thang Long). At 40,000 dong for a first-class seat, I was able to see this troupe for 1/16 the price I paid to see them at Lincoln Center a few years ago. Water puppetry is one of the few indigenous art forms in a country that spent 1,000 years under Chinese rule, 50 under the French and another 10 dealing with the Americans. It originated among the rice farmers, who carve the puppets from waterproof fig tree lumber. The characters were modeled on the villagers, animals from their daily lives and creatures of myth and legend. 11 puppeteers operate from behind a bamboo screen in waist-deep murky water. The murk of the water conceals some of the mechanics, and allows the puppets to appear and disappear with ease. Many of the puppets have articulated limbs and heads. The series of vignettes depict pastoral scenes and legends. The show includes live music, and I was particularly pleased to hear Ru Con Nam Bo played live. I use this lullaby, played on the Vietnamese monochord, dan bau, in a work about abandoned Amerasian children, “SKINning the surFACE.”

Hanoi’s old-school circus (Xem Xiec) provided an intriguing evening. Many of the performers were trained in Eastern Europe. The relatively simple acrobatics (compared to those of neighboring China) were entertaining, but I thought I was having hallucinogenic flashbacks when the elephant started doing yoga and the monkeys riding bicycles in running shorts.

The most interesting performance I’ve seen (other than the ballets of ‘no-road-rules-traffic’ and ‘street-peddling-women-running-from-the-police-with-60-lbs-of-fruit/tea/soup /etc-in-their-baskets’) was when we accidentally stumbled into a temple ritual on our first day in town. Thanks to a side door and Perry’s newly acquired 80-cent flute, we were invited in to witness a Hoa Hao ceremony. Perry joined the musicians while sister Maeve, Dragon (an auspiciously named Yugoslavian we met at the border crossing from China) and I watched a middle-aged woman dance with incense, fire and bells for the next three hours. She worked her way through at least ten costume changes. With each new outfit came a new story told through movement and props. At one point, she was steering a boat; at another she was a woman selling towels from the bags dangling at either end of her pole. The vignettes each included a bouncing dance that seemed to represent travel and walking. In between each dance there would be a formal walk towards the altar before she’d drop to her knees and bless various gifts. These gifts (cigarettes, raincoats, fruit, cookies, noodles, money, facecloths, etc) were then distributed to the temple and to everyone in attendance. The ironic twist though is that Hoa Hao was started as a reformed Buddhism that embodied personal faith rather than elaborate ritual. Perhaps this is progress, perhaps prosperity. Regardless, they were wonderful people and we’ve since been to two of their homes for dinner. Between leaving the ceremony with bags full of goodies and being overstuffed at their homes, I’m amazed at the generosity of some in a country where the average monthly income is $50. I thought WE were supposed to be the haves giving to the have-nots!

For more information on choreographer-dancer Maura Nguyen Donohue, visit her dance company’s web site.

Angels in America

Lange White Angel Breadline.jpg

From the exhibition “Dorothea Lange: Politics of the Visible,” running at the Jeu de Paume museum in Paris through January 27: Dorothea Lange, “White Angel Breadline,” San Francisco, 1933. © The Dorothea Lange Collection, the Oakland Museum of California, City of Oakland. Gift of Paul S. Taylor.

Judson, secret origins and exiles: The San Francisco / New York dance dichotomy

momajudsonhalprin smallFrom the exhibition Judson Dance Theater: The Work is Never Done, running at the Museum of Modern Art through February 3: Anna Halprin, “The Branch,” 1957. Performed on the Halprin family’s Dance Deck, Kentfield, California, 1957. (Halprin’s husband was the noted San Francisco architect Lawrence Halprin.) Performers, from left: A. A. Leath, Anna Halprin, and Simone Forti. Photo: Warner Jepson. Courtesy of the Estate of Warner Jepson.

By Christine Chen
Copyright 2000, 2018 Christine Chen

(To receive the complete article, first published on September 27, 2000,, subscribers please e-mail paulbenitzak@gmail.com. Not a subscriber? Subscribe to the DI for one year for just $36/year or $21 or Euros for students, as attested to by a copy of your student I.D., by designating your PayPal payment in that amount to paulbenitzak@gmail.com, or write us at that address to learn how to pay by check, and receive full access to all new articles plus our 20-year archive of 2000 reviews by 150 critics of performances and art exhibits on five continents.)