As part of its Modern Matinee series, the Museum of Modern Art is paying tribute to Sidney Poitier, above with Katharine Houghton, Katherine Hepburn, and Spencer Tracy in Stanley Kramer’s 1967 “Guess Who’s Coming to Dinner?” Courtesy Columbia Pictures/Photofest.
Keith Haring’s “Red” (detail), on view at the Gladstone Gallery through July 1.1982-1984. Gouache and ink on paper. Complete work 106 3/4 x 274 inches (271.1 x 696 cm). ©Keith Haring Foundation. Courtesy Gladstone Gallery, New York.
By Paul Ben-Itzak
Copyright 2011, 2018 Paul Ben-Itzak
(First published on the DI/AV on May 9, 2011 and re-published today in memory of Randy Shilts. Keith Haring is one of the 100,000 Americans and one million people world-wide who had died from AIDS-related illnesses by the end of George H.W. Bush’s presidency, a presidency largely indifferent to their plight. Bush died on Saturday, World AIDS Day, at the age of 94. And the band played on.)
NEW YORK — “These are markers,” Bill T. Jones was telling me. We were at last Wednesday’s opening for the Gladstone Gallery’s ambitious exhibition of the three mammoth works Keith Haring painted in real-time during a series of performances by the Bill T. Jones / Arnie Zane Company in 1982, as well as two long display cases packed with drawings taken from Haring’s notebooks, including a couple of dozen sketches of penises, most poignantly several under which the artist has written, “Drawing penises in front of Tiffany’s.” Jones looked from tableau to tableau, reflected, and added: “I’m a marker.” Only Bill T. Jones can say this without seeming ostentatious or self-important. What he meant is that, like Haring and like the affliction they shared, the one ultimately succumbing and the other surviving, still here, he signified the artistically audacious and personally daring gestalt of a certain New York epoch. Where he was being unfair to himself, though, was that his tone implied the word *was*, and of the three iconic signifiers of the ’80s NY art scene I encountered last Wednesday meandering from Gladstone’s vast Chelsea gallery near the Hudson to the intimate Rattlestick Theater on Waverly Place, where Suzanne Vega was holding court as Carson McCullers, or pretending to, Jones was the only one who was of his time without being trapped in it. That said, with this courageous exhibition, Barbara Gladstone has liberated Haring from the sanitized version that has been passed down to us in the two decades since his death from AIDS-related illnesses in 1990, at the age of 31. If Jones is “Still / Here,” thanks to Gladsone, Haring is here again, in his full unadulterated glory.
It’s not that Haring’s animated tableaux don’t appeal to adults as well as children — they do. But I suspect my own fascination with them is in large part nostalgic, because they recall the at least surface innocence of that period in Greenwich Village, a sort of resurrection of the down but not out Beat spirit of New York in the ‘50s after the anarchic disarray of the ‘60s and the downer of the ‘70s, with its taint of corruption and its tint of soot. Jones danced, Haring made figures who danced — cartoons that managed to be simultaneously hip and naive, innocent rather than ironic — and Vega sang of an innocent neighbor child (his name was Luca, in case you’ve forgotten), beaten by his parents. Even the monotone vocal delivery and accompanying a-musicality of “Tom’s Diner” didn’t prevent that anecdotal anthem from being playful, a romp in an older Manhattan — the diner — seen through the eyes of a hip young singer, perhaps slightly jaded but still able to appreciate the scene she was describing. This was when irony still seemed a novelty.
But wait. Look more deeply at Haring’s murals painted for Jones’s 1982 shows and you see a serpent extending from the prolonged body of one of the dancers. Consider the dozens of drawings of penises, apparently including at least one of his own (one ageing original hipster at Wednesday’s opening, picking a penis to pose by so his friend could take a photo, passed on one which Haring noted was a a true depiction of the author’s, erect, saying, “Not accurate.”), and, being told earlier in the day by another survivor about what John Giorno wrote about having anonymous sex with Haring in the subway bathrooms of New York while others watched, one also has to recall the moment it all came crashing down in a shower of T-cells, and Haring’s death at 31 of AIDS.
When I told my AIDS survivor friend that I was considering publishing Haring’s sketches under which he has written “Drawing penises in front of Tiffany’s,” (part of his 1978 series, “Manhattan Penis Drawings for Ken Hicks”), juxtaposing them with the fact of his dying of what Prince called the big disease with a little name, my friend suggested I would be stigmatizing Haring, and by inference other gay men who died of AIDS. In other words, I would be saying, “This is what all their penis fancies lead to.” Perhaps, if the art in question was called, “Drawing penises in front of the subway restroom,” but what’s jarring here is the tragic transformation signified by the Tiffany’s context and framing. When Truman Capote’s Holly Golightly (Audrey Hepburn in Blake Edwards’s 1961 film) stands in front of the famous Fifth Avenue display window after a night of partying staring winsomely at diamonds while eating her croissant and coffee one early New York morning, the route that might open that window for her is sleeping with wealthy men. When Keith Haring stands in front of the same window some 20 years later, the baubles, bangles, and bright shiny beads he’s dreaming of will (probably; the exact reason he contracted AIDS was not divulged) ultimately serve as the instrument of his death. Both Holly and Haring arrived from small towns with Big Apple dreams, but oh how the booty of those dreams — of the free lifestyle celebrated by Golightly and pursued by thousands of Hollys and Harings afterwards, perhaps inspired by her story — had changed! And as far as stigmatization goes, well, look at the way society treated each: Holly was lionized — never mind that her means were greased by a lighter form of selling herself; and Keith, or at least the larger social strata which encadred him, gay men, was stigmatized — never mind that unlike Holly he wasn’t using others to get rich, he was just a guy who wanted to have fun.
Keith Haring, “Manhattan Penis Drawings for Ken Hicks,” 1978. Graphite on paper. 8 1/2 x 5 1/2 inches (21.6 x 14 cm). ©Keith Haring Foundation. Courtesy Gladstone Gallery, New York.
Are Haring’s drawings of penises in front of Tiffany’s great art? In my view, no. (But, as a colleague here at the DI pointed out to me, who am I to judge?) Viewed with the awareness that he would die of AIDs a decade later, do they make a powerful statement about a prodigious artist, and about how the consequences for innocents who arrived in New York with the dream of living an artful life changed so direly over the span of just two decades, and about the death of innocence? Absolutely. (And even without this social context, when juxtaposed with Haring’s later, technically more sophisticated and graphically more involved and intricate work — as we’ve done on this page — they do in fact help complete the portrait of the artist.)
Contrast this tribute with Suzanne Vega’s “Carson McCullers Talks about Love,” a shallow homage to a complicated artist which takes absolutely no risks in what was billed as an effort to understand the author of “The Heart is a Lonely Hunter,” “The Member of the Wedding,” and other work that played its own part in signifying an earlier era. McCullers championed misfits, and in probing her story, one would have hoped that Vega would have taken a deeper look at the personal idiosyncracies that informed her oeuvre, particularly ‘Heart,’ and made it ring so true. Vega not only avoids exploring these facets — including McCullers’s sexual ambidextrousness – but after making the decision to go with a generic southern accent, she can’t even bother to develop its nuances. Every line has the same cadence, except when she flubs one, which is frequently. The lyrics of the dozen or so songs are trite, which almost has the effect of trivializing their subject; how can one treat a personality whose chief talent was verbal lyricism with such one-dimensional language? The evening appears to have had a director, Kay Matschullat, but desperately needs a dramaturge. Vega’s fascination with McCullers seems to have started with seeing her photo on a book jacket — “She looked like a wise old child,” the singer recalls in a short introduction spoken as herself before dawning a wig and the unfortunate accent — but her stage portrait doesn’t really delve deeper than that one dimension. In effect, Vega has become the man standing outside the window of Tom’s Diner. She has not ventured inside the restaurant, leaving us to wonder if she really sees her subject. One gets the feeling that we’re beholding a sanitized version of an artist, McCullers, who was anything but. Consequently, she has taught us nothing new about the author; we leave the theater no more enlightened than we were coming in.
Barbara Gladstone, the owner of the Gladstone Gallery, could have gone the same route. She could have just presented the three large works on paper Haring painted during the Bill T. Jones / Arnie Zane performance, which, lustrous and enjoyable as they are, would simply have confirmed the Keith Haring we already know, the one who’s art is safe enough to put on coffee cups. But she clearly didn’t want to just profit from the artist — she wanted to serve him and enchance his reputation and the public’s appreciation of his authenticity and understanding of his art. Personally, on a visceral level, I was repulsed by the penis images. But as an art maven recently returned from France, where the performing arts at least still have some intellectual heft and pose difficult questions, to a New York — New York City, skyscrapers and everythang! — where the lively arts (at least as manifest in what I’ve seen) rarely seem to go beyond the surface any more, where the former town crier the Village Voice is a shadow of its former self, where the spectators don’t seem to know the difference, and where the majority of the artists who populate the Chelsea galleries seem to be so lightweight, and most of the curators not to know the difference, I celebrate the opportunity to get to know an artist I thought I already knew even better, and I applaud a gallery owner’s caring enough to provide the opportunity
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.
From 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
(Among many other engagements in arts performance and management, Christine Chen went on to dance for STREB, run its education program, and serve as managing director for American Repertory Ballet. She is currently director of Dance and Adult Programming for the 92nd Street Y. This Flash’s re-publication is made possible by Edward Winer, Eva Wise, Aaron Winer, Nancy Reynolds, Polly Hyslop, Martin Epstein, and Linda Ramey. Unfortunately, the space crisis in San Francisco has only gotten worse; a recent national survey qualified the city as having the second most afforable housing rate in the country — for current residents, that is, whose median income is $92,000.)
SAN FRANCISCO — The Roxie Theater, Mission District, San Francisco. I moved to the San Francisco Bay Area earlier this month because I was lured by an intangible energy and essence that I sensed when I visited last spring. Specifically, I was deeply inspired when I witnessed members of the community (yes, the actual community, not just the insular dance crowd) affected by and involved with the dance world’s activities: environmentalists and labor unions rallied behind Jo Kreiter’s “Copra Dock Dances”; children and adults stood in awe as Project Bandaloop turned their world around by dancing on the side of a building at a street festival; and audiences danced and bounced in their seats, ignited by the drummers and dancers in “Extravadance,” Sara Shelton Mann’s long-awaited return after her Contraband days.
To my dismay, the scene that I returned to this fall was depressing, and my future as an artist in this city looked dismal. With the closing of performance and rehearsal spaces (Dance Mission and Dancers Group being the two most recent casualties), the arts seemed on the verge of being debilitated by the booming economy which has driven rent prices up — rendering them unaffordable for artists. (This has indeed affected all artists: last weekend, local music bands took to the streets, playing on rooftops and sidewalks throughout the city to protest evictions and the dwindling of rehearsal spaces.) I went to the Roxie Monday to see the documentary “Artists in Exile: A Story of Modern Dance in San Francisco,” hoping to be re-inspired, but fearing either an overly politicized agit-prop blame game on the space crisis or a self-serving documentary filled with in-jokes and references for which I, as a newcomer to the scene, would feel left out. My fears were allayed, and my greatest hopes were exceeded, for the producer/director team of Austin Forbord and Shelly Trott treated me to 84 minutes of pure inspiration and rejuvenation.
Forbord and Trott in “Exile” poetically and intelligently weave together a tale about the history of S.F. Bay Area dance artists with well-chosen footage from performances and rehearsals and with captivating interviews that humorously capture these artists’ varied personalities. The clips, arranged to chronologically document the S.F. legacy beginning with Anna Halprin, are compelling and well edited (though I wanted to see more!). Memorable images include: Merce Cunningham, never more dynamic or supple, improvising in Halprin’s backyard; Mangrove and Tumbleweed’s early use of Contact with context; Dance Brigade’s in-your-face political tactics; Joe Goode’s “29 Effeminate Gestures”; rambunctious dancers in urban public arenas like airport hangars and city streets; ethereal presences on the beach and (Project Bandaloop) on the face of Yosemite Falls; and Contraband’s aggressive athletes Contact jamming with moving cars. Most of the time I sat in awe of the raw physicality and urgency of the work, surprised that video could elicit such a visceral response. The movement is ferocious, potent, passionate, important, impractical, balls-out/tits-out, urban, soft, powerful, sexual, wild, political, spontaneous, vital, compelling, juicy, jugular, ridiculous, and spectacular. The interviews, too, speak volumes about the SF artists. Conversing candidly, intellectually, passionately, flippantly, reverently and irreverently all at once, the interviewees speak from respectively fitting site-specific locations — inside, outside, with props, and on ropes.
Throughout the chronicle, several themes emerge: The NYC/SF dichotomy and the poignant (and timely) questions and dilemmas facing SF artists: Why have SF artists been ignored by critics/historians/national presenters/funders? How has this affected the art and the people who have chosen to live and work here? What potential (or problematic?) role might critics play in this city? What next?
If you are from New York you probably have never heard of the dancers or groups whose names I have been throwing around, but let me assure you that Contraband is more legendary and revered in this city than Twyla is in New York. This is precisely the point of the documentary: S.F. artists have been exiled from the center of the dance world (NYC), and the influences S.F. artists have had on the dance community have been largely ignored and unrecognized. Anna Halprin influenced Yvonne Rainer, Trisha Brown, and Simone Forti, yet they are credited as the forerunners of the postmodern movement. Terry Sengraff introduced gymnastics into her movement vocabulary and experimented in motivity and aerial elements long before Elizabeth Streb put a trampoline on the stage. The discussion goes on — New York represents fame, prestige, recognition, funding, critical acclaim, and refined skills while San Francisco represents a place to find oneself, to experiment and experience, to redefine and reinvent, to toil in anonymity, to transcend.
Many of the artists interviewed in this documentary look to critics to bring S.F. out of invisibility. However, herein lies the Catch 22 of the S.F. critical dilemma: artists rely on critical reviews to gain national exposure and funding, to have a written testament and record of their work, and to be canonized in dance history and discourse, yet the very absence of this pressure to produce and the reality of S.F.’s marginalization have driven the spirit and the freedom in S.F. dance.
I think, and I borrow heavily from post-colonial discourse in this, that S.F. critics need to find a new way of viewing and reviewing Bay Area work. Our artists are not playing by New York rules, so why should we as critics use these rules to evaluate the work that is being made and produced out here? If S.F. artists are frustrated with both the lack of coverage and the predominantly negative coverage (from critics expecting something else, perhaps a New York aesthetic) they have received, maybe it is our responsibility to develop, invent and germinate a new critical language: a dialogue, focus and set of values unique to the San Francisco Bay Area. With this rhetoric we can give our artists the recognition and feedback they want and deserve without paralyzing their enterprising and spontaneous spirit.
In any case, I left the theater feeling uplifted — for witnessing this history filled me with faith and confidence that the arts community would use the current space crisis as fuel for the next urgent dance movement. Sure enough, as I exited the theater I was handed a flyer for a resistance rally at City Hall. The postcard, handed to me with the simple and gentle request, “Please come,” reads, “Rally & Laugh, Drum & Dance; For life, for love, for art, for fun; Taiko/Ballet/Samba/Mariachi/Hip-Hop/Modern/Contact & Clowns/Jugglers on Stilts, Salsa in Speakers, Players and Singers; ‘if we can’t dance we’ll make a revolution’; On Wednesday, October 4 @ 10 a.m. we will propose to the City Finance Committee specific solutions for the arts & non-profit crisis in San Francisco.” This is precisely the energy and the scene the film depicts: dancers uniting and reacting to environmental realities (physical and political) and pressing issues with equal urgency and immediacy in their bodies. The gender stories have been told, AIDS testimonies given, sexuality stories tested, autobiographies politicized, and relationships dissected. San Francisco needs a new stomping ground. While leaving others to refine these (worthy) subjects in their dances, the politically relevant SF artists are reacting from the gut and are creating work in response to what needs to be reacted to right now. This is the heart and soul of San Francisco and this, I am reminded, is why I came here.
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 Yvonne Rainer’s “Bach” from Terrain, 1963. Performed at Judson Memorial Church, New York, April 28, 1963. © Estate of Al Giese/Licensed by VAGA, New York, NY.
By Jill Johnston
Copyright 2006 Jill Johnston
(Today’s re-posting of this article — first published on the DI/AV in 2006 as the Johnston Letter, Volume 2, Number 2 — in conjunction with the Museum of Modern art exhibition Judson Dance Theater: The Work is Never Done, is sponsored by Slippery Rock Dance . Like what you’re reading? Please consider making a donation to the DI/AV today by designating your donation through PayPal to email@example.com, or write us at that address to learn how to donate by check.)
I had a one-person organization a few years ago called FUM, meaning Fed Up [With] Media. I got the word from “Fee Fie Foe Fum, I smell the blood of an Englishmun.” It would be a cover for writing letters to media objecting to everything. But I never did. I’m agitated enough just trying to sleep at night. A friend called me and said, “What’re you up to?” and I said, “Surviving.” Driving down the West Side Highway, I told Ingrid, who keeps changing lanes and racing cars a lot newer than ours, “I seriously don’t feel well.” Having established that, I looked ahead and noticed an SUV license plate right in front of us. It said “SURVIVOR.” I took it personally. After talking quite a bit with people about medical issues, I made up a fantasy organization that I haven’t tried to name. I see the country crisscrossed by networks of friends and families, online printouts in hand, filibustering to help each other survive the medical profession. And of course the insurance companies which have sold us down their rivers. At my gym one day, I accosted a young man wearing a bright green T-shirt with white lettering reading, “I am a doctor, don’t trust me,” asking him if he was in fact a doctor. He was, he said, smiling broadly and meaningfully. It’s nice to see art work in the gym. While I was watching The View the other morning, admittedly a really decadent thing to be looking at, esp. at 11 a.m., I had a FUM moment. The View is that unscripted free-for-all kaffeeklatch of four or five women led by the ageless Barbara Walters. Barbara was regaling her three fellow klatchers, who sort of huddle together parabolically on a couch or around a table constantly interrupting each other, with the great time she had had at the White House amongst the Kennedys celebrating the Special Olympics. She had been one of a hundred privileged guests. Special Olympics is a body we all hail and believe in, but Barbara’s explanation of how it came into being was scandalously omissive, and touched on one of my noir issues, i.e., the one where I can’t bear what happened to someone I never knew, and where media collude in covering it up. Barbara had to say that Rosemary Kennedy, the first daughter and third child of Joseph and Rose, was the inspiration for these Olympics, but she could hardly say what happened to Rosemary — that she had been retarded and behaviorally problematic, a potential embarrassment to her ambitious father, and was lobotomized (in 1941) and subsequently put away forever in her new vegetative state. Not that this is not common knowledge. But the subject on The View was not Rosemary or even the Special Olympics or for that matter the Kennedys; it was Barbara’s career-enhancing inclusion in a White House party, thus advertisement for The View. Anyway lobotomy would raise questions of madness, which would hang in the air like string theories. Had I been in the audience of The View, I would have interrupted the klatch and declaimed the truth, then been bounced right out of the show onto the tarmac on my arthritically inflamed foot. But then, I would never be in such an audience. Movement is required, for a start. You have to get there. In the 1970s, I was pretty active. I went to a Women and Madness (book title) party wearing a “Certified Insane” sign. I had been feuding with the feminist author of the book because I thought I knew more about the subject than she did. I wasn’t too mature then. But I did know more about the subject, having actually been mad. My sign was the picket type, reading “Certified Insane” front and back in big magic letters. The author was so threatened and upset that she called the cops, I guess for disorderly conduct, certainly not for breaking the First Amendment. In my memory the cops never came, or I left before they did. I was not the sort of activist who solicited arrest. As for art work or activity, it was never a feminist interest, except when the movement turned its attention to women who were artists. Down in the equatorial dumps yesterday, I was complaining to JM on the phone from California, who wisely summed up our times, saying, “We’re in a terminal period of awfulness.” It’s in this gloom that I have kept shambling along looking for a doctor for my foot, like Diogenes bent over his upheld lantern in broad daylight searching for one honest man. The foot is not popular with doctors. It’s too far away from the heart, the organ of course of medical preference. It’s far away altogether from world concerns, the blood of the Englishmun. At 11 p.m. one evening I caught Charlie Rose on PBS schmoozing with his guests Bill Gates and wife along with Warren Buffett who had just contributed an indecent amount of money to the Gates Foundation. I like Gates and his philanthropic spirit — I always wonder where exactly the money goes (if I had any money and contributed it to something I would accompany it right to its announced destination to see if it got there and if so who handles it and how) — and now I suppose I have to like Buffett too. But Rose’s real subject was not the desperate global plights to be alleviated by these new billions, but Rose himself as a friend of his fabulously wealthy guests. You know this as you watch him descend to unmitigated vulgarity, making his guests laugh with him over things mysteriously private (undiscovered no doubt even by them, or by the perpetrator, Rose), as they are forced to engage figuratively in sucking each other off. Now what you are watching are three schoolkids (leaving the wife out of this — she appeared to stay on point), laughing over their impossible mission. And you thought it was about saving the world. So FUM them. I wake up yelling sometimes. I had a Katrina-type dream. I’m one of Thoreau’s masses, leading a quietly desperate life. In our final phase of empire, I see Nero with his banjo everywhere, and the flames licking our skylines. I see GW talking about how “sad,” how “pathetic,” the new violence in the Middle East is! I read about “our shamelessly narrow definition of ‘torture.'” I get into a conveyor belt situation at a clinic to see a rare type of doctor, a foot surgeon. First you check in with a woman at a high wooden desk that surrounds her, and she isn’t smiling. At that moment, you should walk right back out. Heck, I can still walk. I just walk minimally, and with help, to avoid the pain it can cause. At the end of the beltway, not a single functionary en route smiling, I waited with Ingrid in a large bare square office for the surgeon, who when at last he came told me surgery is not a good idea, that I don’t look my age, and I should see a neurologist. They hand you around like a plate of cookies. On our way out I saw scads of overweight dejected looking people waiting their turn on lines of chairs, gazing vacantly, mouths slightly open, surely stupefied by drugs. Next I went to a doctor of anesthesiology/pain management, an intriguing-sounding specialty. He would inject me with the bad stuff I want, but I could tell he wasn’t going to care about me. That’s the only specialty that matters to me. He gave me a prescription for a drug called Neurontin, and after reading the list of its side effects I threw the whole three-dollar vial of 90 Neurontins out. Then I went back to the only doctor I’ve met who looks into your eyes with kindness, and who I hope to designate my de facto primary physician. He smiles gently in the long-suffering style, and under his white coat wears subtly mismatching ties and shirts. He’s clearly a man of art. He took my foot warmly in his hands and said you have to start using it more because it’s getting osteoporotic. And he can give me bad stuff in a way that won’t kill me. However I would never forsake the help or advice of friends. I’m very sad that Neno, our flower-store friend, sold his shop and is moving on, but Ingrid saw him on the street this morning and he told her to tell Jill to walk 500 steps every day. What a great idea! I’m going to try it. I’m so mature! Later on in the 1970s, quite a while after my “Certified Insane” episode, I did something that called out the cops again, but this time it changed my life. It was not one of my more artful events; in fact to be frank it was an act of pure violence. I was visiting the Fallsburg New York headquarters of a major guru, having accompanied a devotee there. Standing in line to be “blessed” by a bunch of peacock feathers wielded in air around your head by the guru, I ducked out of the way when I saw it coming. Later, alone in the huge dining room, I suddenly, and with no sublunar reason that I can conjure up, propelled with a mighty push a tall pile of dinner plates off a table onto the floor. They crashed and fractured into a winning mass of rubble, bringing me to the attention of the meditation authorities, who called the cops. I retreated in haste to the parking lot, and lurked invisibly around my mgb, waiting for my devotee friend. Two older women standing together materialized in front of me, about 20 yards away. One I recognized as the poet and potter MC Richards, who turned to her companion and told her who I was, using the epithet, “troublemaker.” Troublemaker! Such a common tag. After that, I stopped acting out in public. And so life goes on, said Gertrude in her book on Picasso. It may all be a lotta who shot John, i.e. a lotta hooey, as Judge Judy sometimes yells at her losers. Judy is abusive and awful, and I could FUM her to death. But where did she get this pearl?
From the exhibition Judson Dance Theater: The Work is Never Done, running at the Museum of Modern Art through February 3: Simone Forti, “See Saw,” 1960. Performed at Reuben Gallery, New York, December 16–18, 1960. Performers: Yvonne Rainer and Robert Morris. (Rainer and Morris also worked on the piece in Yoko Ono’s Chambers Street Loft Series.) Photo courtesy Robert R. McElroy photographs of Happenings and early performance art, the Getty Research Institute, Los Angeles (2014.M.7).
By Chris Dohse
Copyright 2001, 2018 Chris Dohse
(To cop a term from the Judson Dance Theater exhibition running at the Museum of Modern Art through February 3, if the performing project launched at a Greenwich Village church almost 60 years ago never stopped but simply fanned out, the work of chronicling this very personal style of dance expression with a personally invested dance criticism — risk deserves risk — launched by Jill Johnston was perpetuated by subsequent generations of critics, foremost among them the DI’s Chris Dohse.)
NEW YORK — Simone Forti filled the Danspace Project at St. Mark’s Church on Thursday night with a quality that is hard to describe. It’s something I once called “palpable acuity.” Can you learn this? I doubt it. But perhaps, after a lifetime of mindfulness, it can be acquired. Each of Forti’s phrases is made immediately and just to her liking. In her first improvisation, “Logomotion,” she asks for three words from the audience. Since we are sitting in the middle of dance history, Jackson McLow says, “Cold.” Someone else adds, “Threw” (or “Through?”). Lastly, “Falcon.” So Forti makes up poems from aleatoric actions and she sort of tells little stories while she’s at it. Memories, recollections of the heat and the hawk. Dreams and fears and curious whatnots. The lighting instruments hum as she pauses and the hum becomes a world, as Carol Mullins tweaks a level or two to accommodate the dance….
(To receive the complete article, first published on November 13, 2001, subscribers please e-mail firstname.lastname@example.org. 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 email@example.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.)
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 Ruth Emerson in Carolee Schneemann’s “Newspaper Event,” 1963. Performed at Concert of Dance #3, Judson Memorial Church, New York, January 29, 1963. © Estate of Al Giese/Licensed by VAGA, New York, NY. Courtesy of Carolee Schneemann, Galerie Lelong & Co., and P•P•O•W, New York.
By Jill Johnston
Copyright 2005 Jill Johnston
(Today’s re-posting of this article — first published on the DI/AV in 2005 as the Johnston Letter, Volume 1, Number 1 — in conjunction with the Museum of Modern art exhibition Judson Dance Theater: The Work is Never Done, is sponsored by Slippery Rock Dance . Like what you’re reading? Please consider making a donation to the DI/AV today by designating your donation through PayPal to firstname.lastname@example.org, or write us at that address to learn how to donate by check.)
Once upon a few decades ago I wrote a column. A title for one could easily have been OLYMPIC GREASY WATERMELON — words I saw just last week, down the street on a T-shirt at my Crunch gym. The guy wearing it was at the counter where I show my plastic card to sign in. I used to think up zany titles for my columns, ones that might make you want to find out if they had any bearing on anything, thus read on. Since the column appeared in a newspaper I could be sure someone would see it. Here a click is involved. I’m trying to adjust. I adjust all the time, otherwise I’d be dead by now. I go to the gym for instance even though I can’t go places on their running and biking machines. I mingle with the biceps jocks in the pushing pulling and lifting areas. I never walked or ran or danced on my arms, which therefore don’t mind my trying to use them this way. Sometimes when I check in and a worker asks me if I want anything, like a towel, I say yeah two new legs. They smile agreeably, not collusively exactly, but patronizingly I suppose. When I was their age, God will know, I saw the likes of me as a species apart, arrived here perhaps from another planet fully formed in this steeped or percolated state. An important adjustment to make as you await new legs or launch a click column is to forget about saving the world, realizing you will only offend people. By world of course I mean self. I start every day at my c.s. or coffee shop, before going to work which entails returning home. I’ve called it Segafredo after the first name I gave it, before knowing that Segafredo is the coffee they make, not its real name. Lately I just say c.s. Practically the whole place is distressed — the walls, floor, ceiling, bathroom and my favorite table, a large round wooden leaning affair, its top thick as a butcher block, with half inch crevices unevenly crossing its scurfy surface. The bathroom is masterfully small and has a nice mirror if you can get far enough away from it to appreciate your dubious morning visage. The front end of the toilet lid is all of six inches from the wall it faces — a hastily hammered raggedy-edged vertical stretch of graffiti-decorated plaster board. The friends I make at the c.s. are a bit like those you meet on shipboard or airplane. You may see them there repeatedly but not anyplace else. If you leave the c.s. with one of them you are probably in trouble. Not that you can’t get in trouble inside too. I made a big adjustment when I started hiding more or less at the back, in relative darkness, at the large leaning wooden table, next to the kitchen, armed with my newspaper, papers in general, my journal and book du jour. Just last week, opting to sit at one of the two small round window tables up front, I had an adventure. Two points of interest suddenly converged — a striking lady of years sitting at another table, and an arresting quote in my biography of T.E. Lawrence. Lawrence is my latest love. I fall in love with dead people — as who does not. It isn’t just my percolated state. And I still have arms for embracing the living. I should have used them, strengthened by Crunch machines and all, to embrace Bertha Harris before she died last month. I may have been making up for it at the c.s. by approaching this beautiful picture of decrepitude, a lady of surely eighty plus, stark white hair straggling to shoulders, a vase of flowers at one elbow, a bleached face, a look pensive and defeated, with my quote by T.E. Lawrence. I had just excitedly come across it. Having adjusted to an unexciting life, this wasn’t easy to handle. I almost ran the four yards to her table. A little earlier I had introduced myself by way of passing her and commenting on her pretty vase of flowers, which came, she remarked impassively, from a friend’s garden. Now, breathless after four yards, I laid my book in front of her, open to the page with the quote. She read it and said she wanted to copy it. I gave her my pen and she found a piece of paper in her bag. The quote goes: After 70 an unearthly richness attacks most of our elders and they become wells of satisfaction to me. Only then one gets to like them too much and away they go and die. After that great deed I finished reading my book and went to work. I have something new at home — a giant pot housing my avocado plant. The pot blocks out one third of the light from one of our two tallish windows facing south. By “our” I mean myself and Ingrid, who set up this space for a click column. She designed the whole website . My son Richard did the technology. On Ingrid’s part, it’s a conspiracy of sorts. Back in 1969 long before we met she saw one of my columns on an Amsterdam newsstand. By 1980 when we got together I was no longer writing them and between then and now I have written books and sundry articles in many publications. Now, as it seems, Ingrid has revived Amsterdam, and resurrected the reason she wanted to know me. I’m a very obliging person, during the day at least, full of eagerness to adjust. At night I’m focused on nothing more or better than begging every power in creation to help me sleep. When I get up I celebrate survival with agreement. I haven’t entirely adjusted to my new pot, which my daughter Winnie brought here one day with her son my grandson Ben, creating an astonishing replanting scene involving hacking apart the old pot long cracked down one whole side of it anyway and banging in a board to extend the window shelf. Wrapping up this column replanting, I have more watermelon news: Those three words, OLYMPIC GREASY WATERMELON, seen on a T-shirt at Crunch, describe a game played by Olympic hopefuls or Crunch trainers involving two teams standing at pool’s edge poised for a greasy watermelon to be thrown into the water whereupon they all dive in and grapple to secure this dirigible fruit and bear it off to the opposite team’s goal. That was a good day at the gym. I might forget sometimes to set a pile of blocks at my grand weight of 15 pounds and start pulling on the cords. One day the cords wouldn’t budge. I thought the mechanism was broken or something, and consulted a biceps jock standing nearby. He said it was set at 100 pounds! At the c.s., I have had worse moments but the other day, working at the back next to the kitchen I was in for a pleasant surprise. A woman with upswept white hair approached me on her way to the bathroom. She was wearing a copious long white like peasant dress, dotted all over with appliquéd flowers. I didn’t recognize her until she said she wanted to thank me for that quote. She was the quote lady! Today she was smiling, and she inquired animatedly, “How did you know I was over 70?” Making me sort of gape. “How old are you in fact?” I asked her. And she came up with 71! But really even smiling and wearing a cheerful dress she couldn’t be a day under 80. She wandered off murmuring over the quote, the “wording of it…so unusual.” The word “attacks” struck her fancy the most. “At 70 an unearthly richness attacks our elders.” I wish I could tell Lawrence. He was still alive when I was born. I’m clicking away. It’s a new age, heading for the open seize, in publishing.
©Jill Johnston 2005. Originally published on www.jilljohnston.com ; first published on the DI/AV in 2005 as Volume 1, Number 1 of the Jill Johnston Letter.