Returning to its roots as a Direct E-mail List — as the most effective, efficient way to serve our subscribers, writers, advertisers, and readers — the DI will heretofore make all new content, as well as reprints from our 20-year archive of more than 2,000 exclusive reviews by 150 writers of performances on five continents, plus news, commentary, art, and the Jill Johnston Archive, available strictly by e-mail. To subscribe to the DI and access both this new content and archived stories, for just $29.95/year individuals or $49.95 institutions, just designate your PayPal payment in that amount to firstname.lastname@example.org, or write us at that address to find out about payment by check or in Euros. (In the latter case, the payments will be directed to our European correspondents.) You can also contact us at that address to find out about limited, well-integrated e-mail advertising options.
In the fall of 1966, “The Chelsea Girls,” Andy Warhol’s double-screen endeavor, began its journey from downtown marvel to uptown hit. To celebrate the new book “Andy Warhol’s The Chelsea Girls” and the ongoing Warhol film digitalization project, the Warhol Museum and the Museum of Modern Art are presenting the premiere of a new high-quality digital scan of the film. Running May 4 through May 13 at MoMa, the Chelsea Girls Exploded also features related films and never-before-seen material shot by Warhol to create his epic of the New York underground scene. Above: Andy Warhol, “Afternoon,” 1966. Pictured: Donald Lyons, Dorothy Dean, Edie Sedgwick, Ondine, Arthur Loeb. [MOM 15170 frame-055327] Copyright 2018 the Andy Warhol Museum, Pittsburgh, PA, a museum of the Carnegie Institute. All rights reserved. Film still courtesy the Andy Warhol Museum.
If there’s one person in dance who is consistent, it’s Battery Dance’s Jonathan Hollander, whose vision, contrary to the myopia which sometimes infects other leaders of the New York dance community, has always been both global and community-oriented in the larger sense. Receiving its premiere Sunday at 7 p.m. at the Museum of Modern Art as part of MoMA’s Doc Fortnight festival, Rob Fruchtman’s 2017 “Moving Stories” follows six dancers from Battery, including ex-Graham fixture Tadej Brdnik, as they travel to India, Romania, Korea, and Iraq to work with at-risk youth, with just one week to prepare a performance. The documentary is preceded by Maris Curran’s “While I Yet Live,” in which five acclaimed African-American quilters from Gee’s Bend, Alabama, discuss love, religion, and the fight for civil rights as they continue the tradition of quilting that brought them together, and followed by a discussion with some of the dancers, who also included Robin Cantrell, Mira Cook, Clement Mensah, Sean Scantlebury and Lydia Tetzlaff. Photo courtesy Rob Fruchtman.
Born in São Paulo in 1886, Tarsila do Amaral (d. 1973) traveled to Paris in 1920 to study at the celebrated Académie Julian, subsequently working with André Lhote, Albert Gleizes, and Fernand Léger to fulfill what she referred to as her “military service in Cubism.” From February 11 through June 3 the Museum of Modern Art exhibits nearly 120 paintings, drawings, sketchbooks, photographs, and documents relating to the artist culled from across America and Europe, including, above: “Carnival in Madureira (Carnaval em Madureira),” oil on canvas, 29 15/16 x 25 inches (76 x 63.5 cm). Acervo da Fundação José e Paulina Nemirovsky, em comodato com a Pinacoteca do Estado de São Paulo. © Tarsila do Amaral Licenciamentos and courtesy MoMA.
Running September 16 through February 3, 2019 at the Museum of Modern Art, Judson Dance Theater: The Work Is Never Done posits the ongoing importance of the legacy of Judson Dance Theater, beginning with the workshops led by Anna Halprin, Robert Ellis Dunn, and James Waring and extending to the influence of other downtown figures including Simone Forti and Andy Warhol, as well as the Judson Gallery and the Living Theater. Through performances and some 300 objects including film, photography, sculpture, music, poetry, and architectural drawings, the exhibition celebrates Judson’s multidisciplinary and collaborative ethos as well as the range of its integers, including, above, the late Trisha Brown and Steve Paxton as captured by Peter Moore performing Brown’s “Trillium, Concert of Dance #4” on January 30, 1963. Photo ©Barbara Moore / licensed by VAGA, New York, NY. Courtesy Paula Cooper, New York.
As part of the most comprehensive exhibition ever organized for photographer Stephen Shore, opening November 19 at the Museum of Modern Art, where it runs through May 28, MoMA is featuring, above: Stephen Shore, “1:35 a.m., in Chinatown Restaurant, New York, New York,” 1965-67. Gelatin silver print, printed c. 1995. Nine × 13 1/2 inches (22.9 × 34.3 cm). Courtesy the artist. © 2017 Stephen Shore and courtesy MoMA.
From the exhibition Club 57: Film, Performance, and Art in the East Village, 1978–1983, on view at the Museum of Modern Art from October 31 through April 1, 2018: Keith Haring, Acts of Live Art at Club 57, 1980. Photograph by and copyright Joseph Szkodzinski. Courtesy the artist.