The Lutèce Diaries, 20: American post-moderns in Paris or, how Rosemarie Castoro carved out hallowed spaces in the sexist space of the art world

Rosemarie Castoro in Beaver's Trap studio performance 1977 polaroid estate of rosemarie castoro jpegRosemarie Castoro in a 1977 studio performance of her work “Beaver’s Trap.” Besides the sexual innuendo, the title also refers to the English translation of the artist’s Italian last name. Polaroid. Courtesy Galerie Thaddaeus Ropac, London · Paris · Salzburg. ©The Estate of Rosemarie Castoro.

by Paul Ben-Itzak
Text copyright 2019 Paul Ben-Itzak

“I’m not a minimalist. I’m a maximist.

— Rosemarie Castoro (1939-2015)

Like what you’re reading? Please let us know by making a donation so that we can continue this work. Please designate your PayPal donation in dollars or Euros to paulbenitzak@gmail.com , or write us at that address to learn how to donate by check. Special thanks today to DI co-founder and long-time supporter Jamie Phillips, who like Rosemarie Castoro created art for many years on the 100 block of SoHo’s Greene Street — where the Dance Insider was born in 1998.

PARIS — The first headline above echoes the way a mentor has characterized these meanderings. If I plead guilty, I could still do with more of Gene Kelly’s aplomb and serendipity in dancing with, wooing, and landing Leslie Caron from the quays of the Left Bank to a Beaux Arts Ball misplaced on the Butte Montmartre. Instead I keep feeling like Henry James’s Lambert Strether, who in “The Ambassadors” has more luck scoring a set of Victor Hugo at a bouquiniste’s Seine-side stand then scoring with an older Frenchwoman who finally rebuffs the middle-aged Boston Brahmin with a dose of Old World cynicism. So after a month — that’s a month too much — of having my American optimism sucked up by the Old World specimen in question, on Saturday I limped up the hill to Belleville, down the hill to a Place de Republique where 30 yellow-flag waving Kurds outnumbered 20 yellow-vest brandishing demonstrators and into the narrow ancient streets of the Marais. If there was too much American signage for my taste — I don’t care if your window boasts that “Our donuts are really fabulous,” would anyone really pay 6 Euros for a krispy-kreme sized beignet and a thimble-scale cup of coffee? — the angst produced by encroaching American cuisine was worth it for the delight of dancing with the Judson-era American artist Rosemarie Castoro on the four floors of the Galerie Thaddaeus Ropac (it’s like a mini-museum except it’s free), where through March 30 curator Anke Kempkes has mounted an extraordinary multi-media (Castoro excelled in all of them) exhibition on the artist who was like Yvonne Rainer, Trisha Brown, Robert Rauschenberg and Allen Ginsberg rolled into one.

rosemarie castoro photo portraitArchival Photograph, “Rosemarie Castoro Portrait,” 1965. Vintage B&W photograph. 19.25 x 15.5 cm (7.58 x 6.1 in). (RC 1121). Courtesy Galerie Thaddaeus Ropac, London · Paris · Salzburg. © The Estate of Rosemarie Castoro.

Just emerging s I am from break-up, you-just-waisted-my precious-time hell (see above; and click here if you might be the cure), of course the work that moved me the most in Rosemario Castoro: Wherein lies the Space was a quotidian journal that Castoro kept in 1970, when she was in the process of breaking up with fellow artist Carl Andre. (Who would later be charged with — and acquitted of — second-degree murder in the 1985 death of his wife Ana Mendieta after she plummeted from the window of the couple’s 34th-floor apartment at 300 Mercer Street. Mendieta was recently the subject of a major retrospective at Paris’s Jeu de Paume museum; Andre — many of whose exhibitions since Mendieta’s death have been picketed — is included in the Ropac Gallery’s current minimalism show at its space in nearby Pantin, where it hosts a conference on the subject Saturday. RSVP to laura@ropac.net.) Using a stop-watch, Castoro notes how much time simple tasks like opening the door to her studio or carrying a canvas from point x to point y take. If the language is straightforward, the emotional suffering she was going through is nonetheless suggested; for example, in the fact that it takes her 35 minutes to eat an ice cream cone.

Rosemarie Castoro Self-Portrait in Studio 1980 jpegRosemarie Castoro, Self-Portrait in Studio 1980 jpeg: Rosemarie Castoro, “Self-Portrait in Studio,” 1980. Polaroid. Courtesy Galerie Thaddaeus Ropac, London · Paris · Salzburg. ©The Estate of Rosemarie Castoro.

In addition to writings, sculptures, paintings, and installation photos, the exhibition also includes the projection of Yvonne Rainer’s 1966 “Carriage Discreteness,” which features Castoro walking determinedly across the stage in its premiere moments, whence my one frustration: Instead of showing the video in a darkened room as is customary, the gallery projects it on a white wall in broad daylight, making it difficult to actually see anything. (You can watch an excerpt here, but ignore the text below the clip as there are some inaccuracies.) The accompanying documentation helps situate Castoro in her milieu and in her epoch: A blow-up of a gathering at her home at 112 Green Street includes an appreciation from Lawrence Weiner, while the program from a performance by the New Poets’ Theater at the Unit Playhouse (157 W. 22nd Street) — with a $1 admission price to see a stellar cast — offers this quaint promise: “In case of sufficient demand there will be a further performance at 10h15 p.m.”

Rosemarie Castoro_Group Photo_Studio in Soho_New York_Polaroid_1969_© The Estate of Rosemarie Castoro_Rosemarie Castor, Group Photo, Studio in Soho, New York, 1969. Polaroid. Courtesy Galerie Thaddaeus Ropac, London · Paris · Salzburg. ©The Estate of Rosemarie Castoro.

Speaking of demandes — in French, “requests” — mine to the Ropac Gallery for a few images was met with an unexpectedly generous helping of photographs of Castoro in performance and of her most famous installations, sculptures, paintings, and poems. So I think I’ll just shut up now and let Rosemarie Castoro dance across your screen. (If you’re in Paris through March 30, you can even score your own images and informative text; in lieu of the standard one-page information sheet, the gallery offers visitors a free, generously illustrated booklet.)

Rosemarie Castoro studio polaroidRosemary Castoro, Studio Polaroid. Courtesy Galerie Thaddaeus Ropac, London · Paris · Salzburg. © The Estate of Rosemarie Castoro.

… But not before a little rant: Given all the Judson-era hype to which I’ve been exposed since I began focusing on dance 27 years ago, including six living in the heart of Greenwich Village (next door to Electric Lady Studios), I was troubled that I’d never heard of Rosemarie Castoro until stumbling into a gallery in the Marais…. and that it took an astute Parisian curator to make up for the superficial curating of a museum in Castoro’s hometown, the Museum of Modern Art, which completely left her out of all the hype it sent out on its recent Judson exhibition. Besides MoMA’s curatorial laziness, a hint to the reason for the larger historic oublie is provided by an Art News cover displayed in the Ropac show which, over a group photo of female artists, ironically asks the question: “Where are all the good male artists?” An answer is suggested by a comment the choreographer Sara Hook made years ago at a New York roundtable discussion on the challenges faced by female dance-makers. In her own eclecticism an artistic descendent of Castoro, Hook pointed out that whereas a male dance star retiring from the stage can simply announce, “Voila, I’m a choreographer,” and the critics who ogled him on stage flock to see his work (that last part is my analysis) female dancers are expected to prove it. In other words, they don’t shout as loudly as their male counterparts. (Living up the street from the Centre National de la Danse, which recently changed its name to the Centre National for l’Art and la Danse — a standard clearly left out when the building, which looks more like a prison than a dance or art center, was designed — I also have to ask why, as far as I can see by its programming material, a center for *art* and *dance* has completely left Castoro out, missing a golden opportunity to coordinate performances with the Ropac, whose Pantin facility is right across the Ourcq canal from the CN “and A” D. Do we really need three months of Xavier Roy — another over-hyped male choreographer?)

All the more reason to shout about Rosemarie Castoro.

Rosemarie Castoro_Studio Performance_ca 1971_Polaroid_© The Estate of Rosemarie Castoro_300dpiRosemarie Castoro, Studio Performance, circa 1971. Polaroid. Courtesy Galerie Thaddaeus Ropac, London · Paris · Salzburg. ©The Estate of Rosemarie Castoro.

rosemarie castoro performingChoreography and performance featuring Rosemarie Castoro and Frank
Calderoni, February 11-18, 1963. Pratt Institute, 1963. Vintage B&W photograph. 5.1 x 7.6 cm (2 x 3 in). (RC 1130). Courtesy Galerie Thaddaeus Ropac, London · Paris · Salzburg. ©The Estate of Rosemarie Castoro.

Rosemarie Castoro flashers third avenueRosemarie Castoro, “Flashers.” Installation view at 780 Third Avenue, New York, 1984. B&W print on photo paper. Print: 11.7 x 17.8 cm (4.6 x 7 in). (RC 1049). Courtesy Galerie Thaddaeus Ropac, London · Paris · Salzburg. © The Estate of Rosemarie Castoro.

rosemarie castro socrates sculpture parkArchival photograph: Rosemarie Castoro, “Ethereal Concrete,” Socrates Sculpture Park, Long Island City, NY. Installation view with children, 1986, 1986. Vintage B&W photograph, 35.4 x 27.7 cm (13,94 x 10,91 in). (RC 1149). Courtesy Galerie Thaddaeus Ropac, London · Paris · Salzburg. ©The Estate of Rosemarie Castoro.

rosemarie castoro painting oneRosemario Castoro, “Red Blue Purple Green Gold,” 1965. Acrylic on canvas, 182.2 x 361 cm (71.75 x 142.12 in). (RC 1118). Courtesy Galerie Thaddaeus Ropac, London · Paris · Salzburg. ©The Estate of Rosemarie Castoro.

Rosemarie Castoro wordsRosemarie Castoro, “Untitled (Concrete Poetry),” 1969. Prismacolor marker and graphite on graph paper. Paper 27.9 x 21.6 cm (11 x 8.5 in). (RC 1107). Courtesy Galerie Thaddaeus Ropac, London · Paris · Salzburg. © The Estate of Rosemarie Castoro. Another Castoro poem, similarly presented and displayed in the Ropac show, pays tribute to the conscienteous objector.

rosemarie castoro in front of wall spring street padPortrait of Rosemarie Castoro in front a ‘Free Standing Wall’ in her studio, Spring Street, New York, 1970. Vintage B&W Polaroid Photograph. Dated on verso: “1970.” 8.26 x 10.80 cm (3.25 x 4.25 in). (RC 1148). Courtesy Galerie Thaddaeus Ropac, London, Paris, Salzburg. ©The Estate of Rosemarie Castoro.

In case the Castoro exhibition has you thinking “Ca y est, women artists are finally getting their due alongside their male equals (and inferiors),” think again: Walking up the Street of the Old Temple in the Marais after catching the show, I ran smack dab into the most Lilliputian park in Paris, and whose one remotely adult attraction, a solitary ping-pong table, was surrounded by the smallest of those ugly green ‘off-limits’ construction barriers that continue to blight the city. A park named after the great surrealist artist Leonor Fini. Well, half-named after Fini, who shared the billing with the 17th-century salt tax profiteer who owned the property before the city bought it to house the Picasso museum. That ended up getting a much more luxurious space, while Fini — the woman — got (half) the left-overs. (The name of the park is something like “The Square of the Old-Salt-Leonor-Fini.”) Meanwhile Picasso, the second half of whose oeuvre any child playing in the Old-Salt-Leonor Fini square could scrawl or make with play-dough, is currently sharing his museum with yet another male artist, Alexander Calder, neither of whom can hold a candle to Fini. The fight is not yet over.

AVID, the Arts Voyager Illustrated Diary: Thresholds, with art from Balthus, Ruth Asawa, and Ben Shahn and PBI’s Memoir ‘Two-and-a-half with a Bullet’

balthus 7 la chat du mirroir 7 small 2From the exhibition Balthus, running through January 1 at the Fondation Beyeler in Riehen, Switzerland: “Le Chat au miroir III,” 1989–1994. Oil on canvas, 220 x 195 cm. Private collection. Copyright Balthus.

Text by & copyright Paul Ivan Winer Ben-Itzak
Art by Balthus from the exhibition Balthus at the Fondation Beyeler, Ruth Asawa, and Ben Shahn (see captions for copyrights)

Today AVID offers a dialogue between PBI’s time-traveling memoirs of growing up in the U.S. and assimilating in France and the work of Balthus, on view at the Fondation Beyeler in Riehen, Switzerland through January 1 and, from our archives, Ruth Asawa and Ben Shahn. Like what you’re reading? Please subscribe to the Dance Insider & Arts Voyager for $36/year or make a donation by designating your PayPal payment to paubenitzak@gmail.com , or write us there to learn how to pay by check. This one goes out to Linda, in memory of Bill Clark. The excerpt below, from PBI’s “Cross-Country/A Memoir of France & the U.S.,” is titled “Prelude: Two-and-a-half with a bullet,” and is 90% revised from an earlier version. 

“He’s here again: the man with the child in his eyes.” — Kate Bush

“We know the children who begin the youth of loss greater than they can dream now.”     — Wallace Berry, “November Twenty Six Nineteen Hundred Sixty Three” (George Braziller, New York, 1963. Illustrated by Ben Shahn)

“Songs to aging children come / Aging children, I am one.” — Joni Mitchell, “Songs to Aging Children Come,” from the film “Alice’s Restaurant”)

Mom is crying over the wooden loom that divides the dining room from the kitchen in our San Francisco Edwardian, as the fog over Noe Valley evaporates outside the window. I look up at her from the black-speckled yellow linoleum floor.

“What’s wrong, Mommy?”

“President Kennedy has been ass-ass-i-na-ted.”

This is my first conscious memory. (Although as my old creative writing teacher Joyce Carol Oates recently pointed out on French radio, what we think are direct memories are often memories of memories, retained by constant replay. The best teachers’ lessons are meted out over a lifetime. Which is not to say that Oates wasn’t already meting them out in 1980. After I submitted a short story in which I confessed to committing “slow suicides,” she handed me an essay she’d written, “The Art of Suicide,” not a how-to-manual but a critique of famous self-immolators: Anne Sexton, Sylvia Plath….Her main point was that as one can’t desire a void, for the Suicide – she used it as a noun – the wish “I want to die” is really a stand-in for something else: “I want you to love me,” “I want to you to listen to me….” Three years later another Princeton professor, Robert Fagles, would walk into Tragedy class one afternoon with a Washington Post article about a college student who had killed himself after reading the Oresteia… in his translation. Holding the clipping in one hand and tapping the book gently with the other and looking each of us in the eyes, he declared, carefully enunciating each word in his tender, resonant cadence: “I want to be sure you understand what this tale is about.” When I interviewed Fagles about his new Oedipus translation the next year for the Times, he would explain: “Oedipus had to be burned to a crisp in order to emerge whole again.” My own thinking on the ultimate existential question – Albert Camus called it the only question —  has evolved, following the 2015 Paris suicide of filmmaker Chantal Akerman,  who once built a play around the letters between Plath and her mother, to consider the possibility that when an artist chooses to end her life, it may just be a creative way to formulate a period. Or to breach a threshold. And that we should allow these liberators of our own souls their franchise.)

As childhood memories go, I have only two of my parents together before they split up when I was 12. An electrical storm is rattling our isolated house off Bohan-Dillon Road in rural Northern California, and Dad is late returning from a visit to the Pomo reservation, reached only by a treacherous mountain road. When he finally bursts in, drenched, Mom clutches him desperately, like a fisherman’s bride embracing an errant sailor presumed lost to the sea’s caprices. (From the reservation I also remember a succulent pig roasting on a dripping spit and the Great Chicken Pox Epidemic of 1969, which started with the Indian children and terminated with my baby brother’s pink-speckled body dangling from my mom’s arms. Now that I’ve shared Jordan’s most intimate moment of affliction — to cop a term from another Princeton prof. — here’s mine:  Being bitten on the penis by a tic while climbing the cliffs above the totem pole guarding the Timber Cove Inn, which explains my aversion for going cepes hunting with my neighbor in the South of France five decades later.)

My other memory of Mom and Dad together is of them hiking on a mountain above the Tamales Bay ranch where Hans and Dina Angress (her family hid him out in Holland during the war) hosted their annual herring festival with the dozens of children they’d adopted: Smoked herring, pickled herring, barbecued herring, fried herring, herring-shaped bread, salt-water herring taffy. (When the herring festival wasn’t on, we’d beg mom to stop at the Stewart General Store across from Fort Ross, an old Russian bastion overlooking the ocean, for beef jerky.) Dad in his broad tan cowboy hat is carefully explaining something to Mom, not looking at her, as she purses her lips and stares down at the dry brown weeds. (They would separate soon afterwards.) I resume flirting with a mulatto girl from a local school I retrieved every year on the volleyball court, not the first mulatto girl I’d fall in love with.

balthus five Les Enfants Blanchard smallBalthus, “The Blanchard Children,” 1937. Oil on canvas, 125 x 130 cm. Musée national Picasso-Paris.  Donation of Picasso’s inheritors, 1973/1978. © Balthus.  Photo: RMN-Grand Palais (Musée national Picasso-Paris) / Mathieu Rabeau Blanchard.

My courting of Christine LaMar that same school year, 1972-73 (also when my first cat, Kristen, was mauled to death by the O’Neils’ German Sheppard), was confined to stare-out contests across the aisle of the 24 Divisadero, until she blindsided me one morning by boarding the bus at Market wearing dark glasses. Deciding it was time to up the ante, I dedicated my first, handwritten novel, “The Problem Cops,” about a police duo who took on racial problems, to her. I also dedicated my ping-pong victories to Christine, announcing to my brother Aaron and best friend Eric before every match over our basement table: “I dedicate this game to Christine LaMar. If I win, I will be __ and __ . If I lose, I will be….” By the time Christine broke my heart by announcing that she was transferring to another school, I was able to declare, through tears not abated by a buttermilk donut, “If I win, I will be 187 and 9,” my final tally. It took so many dry-runs to summon the courage to call Christine and ask her out that I still recall her phone number as faithfully as Jenny’s (from the song: 867-5309): 587 – _ _ _ _. When in 1994 we organized a reunion for Rooftop – our alternative public school, one of the city’s first, was relegated to the roof of another school — I was devastated to learn that Christine had told the classmate charged with calling up other alumni that she wouldn’t be coming, as she couldn’t remember anyone. I did: Besides Christine, Monica Woo, Maura Iaconi, and Kathy D., skipping up to Jackson Park for our lunch break in a red sweater and white skirt, a beret holding back her straight brown hair, and with whom I used to exchange the kind of teasing that among 11-year-olds is another form of flirting. (Also from the lunch breaks, I recall the most popular teacher, Ernie Baumgarten — who often came to school wearing the mask of our mascot, King Kong — laying on the grass with his ear glued to a transistor to follow the Watergate hearings. At the reunion, in a Fort Mason barrack overlooking the bay, after catching up with some of us, now in our ‘30s, Ernie would commiserate, “I know that many of you are still struggling.”) I’d fall for Kathy again eight years later, in 1981 – I remember the year because we saw “Atlantic City” together, Burt Lancaster ogling Susan Sarandon bathing her naked arms with lemon juice – when she was bobbing her hair and, as often seemed to be the case that year in Noe Valley, weighing her sexual orientation. (Though this observation may be my way of processing her lack of romantic interest in me.) When I next had news of Kathy, she was trundling Agnes DeMille around Greenwich Village and living at the aging choreographer’s pad at 11th and 5th, in the same building where Duchamp schemed up R. Mutt and turned a toilet into art. When I last saw her, in 1991, it was at the memorial service for her brother, who had killed himself. Her eyes were as luminous as ever. The only Rooftop girl I ever kissed was Kerry Baum, who with Gio Coppola, Francis’s son, had formed the school’s Bopsy Twins. I’d later interview Gio’s brother Roman – who’d produced one of the first films to exploit ‘70s nostalgia, “The Spirit of ’76,” in which Olivia d’Abo time-travels back to the era and falls in love with David Cassidy – and open my interview with his mom, Eleanor, on her “Making of Apocalypse Now” documentary, by conveying my condolences on the loss of Gio, killed after being bopped on the head by a mast while sailing with Ryan O’Neal’s boy. Another Rooftopper, Chris Perry,  would grow up to be the first person I knew to die of AIDS, which I learned of while doing a story on the Quilt in 1991 and discovering his name on a panel.

Once we’d debarked from the 24 and scaled the six flights of stairs to Rooftop, school would start with Morning Circle, a chorus of Woody Guthrie’s “This Land is Your Land” followed by share-time. (I’d soon be studying auto-harp at his son Jodie Guthrie’s house,

balthus the card party smallBalthus, “The Card Party,” 1948-50. Oil on canvas, 140 x 194 cm. Museo Nacional Thyssen-Bornemisza, Madrid © Balthus.

forcing my instructor to teach me “Your Daddy’s Home,” and, later in Paris, would chow down with Woody’s daughter Nora.)  At one Morning Circle, a long-haired, freckle-faced kid named Aaron Burg divulged, “I had dried cat food for breakfast this morning. It’s actually quite good!” Another Aaron, my brother, signed his school picture to me that year, “Love, Aaron W..” And yet another would help launch my show-business career. A reporter for an about kids, by kids local t.v. show, “Whatchamacallit,” Aaron Wolf anchored a segment on Rooftop in which he said all we did was sit around reading comic books. (Actually, we made them. And Super-8 movies about vampire-heroes set to the theme from “Mission Impossible.” And tape-recorded Watergate spoofs in which I played Nixon: “Mitchell’s thinking of spilling the beans.” In 1985, regaining consciousness in the emergency room after passing out in the Herod-scale sunken mosaic bathtub of my dad and step-mom’s home while immersed in Swiss bubbles from her shop, Common Scents – I’d been nervous about a first date with an older woman, or maybe it was Kennedy’s bullet, the dread that anything can end when it’s only just begun — when the good-looking doctor asked me who the president was, I answered, “It’s not Nixon, is it?”) When “Whatchamacallit” refused to let us rebut, we decided to start our own show, What’s New With Kids?, which ran on radio station KPOO. (If you don’t like the news, make some of your own.) This lead to my being invited to audition for a new t.v. show, Kidswatch, and this oracular rejection note: “You seemed more like the brains behind the talent than an actual on the air personality.” But the Wolfs weren’t through with me yet. In 9th-grade drama, Aaron’s dreamy sister Naomi would play Roxanne to my Cyrano before she went on to play Rasputin to Al Gore, turning him into a girly-man with the image make-over that inadvertently launched a war and landed me on the front-page of France’s Communist paper, leading an American contingent demonstrating in Paris against the Iraq invasion in 2003.

shahn civil rights small

From the Arts Voyager archives: Ben Shahn, “Civil Rights March.” Copyright Ben Shahn.

Despite retaining all this minutia (I left out Inca Robbins’s nose-ring, marching with my mom against the war in 1966, and betraying the 25th Street Gang for the Jersey Street Gang, lured by Roxanne Sanchez), I have no other memories of my parents together from this period. Which is not to say I don’t have other charged souvenirs from the year we spent in Timber Cove in 1969: Knocking Aaron unconscious for four seconds; Aaron and I erecting our own fort in a cluster of trees overlooking the Pacific, and the set of Children’s Encyclopedias we stowed there getting water-logged; our discovering a typewriter in the secret attic that ringed the house; the towering redwoods outside our  room’s window whose foliage I made into faces; Aaron whining “Lemme go to sleep!” when I would not stop talking; looking under the bed for simians from “Planet of the Apes”; and obstinately refusing to return to school after glimpsing the slip of Mrs. Klein, who taught the lower grades in our little red schoolhouse of 40 kids. (I also associate a leather belt with this memory.)

PWI91668

Balthus, “The Cherry Tree,” 1940. Oil on wood,  92 x 72.9 cm. Roman Family, London. Copyright Balthus.

The upper grade teacher and principal, Mr. Cash, was run out of town at rifle-point after holding all the kids with brown eyes after school one day and all the kids with blue eyes the next to teach them about racism. (Which is not to say that racism was confined to rural California. Back at Alvarado School in Noe Valley the next year, 1970, I remember our work on the schoolyard mosaic mural – supervised by Ruth Asawa, the Japanese-American artist whose World War II imprisonment had taught her the importance of education – being interrupted one afternoon by the cry “A fight, a fight, a nigger and a white!”)

balthus la rue smallBalthus, “La Rue,” 1933. Oil on canvas, 195 x 240 cm. Museum of Modern Art, New York. Gift of James Thrall Soby. ©Balthus. Photo: 2018. Digital image, Museum of Modern Art, New York/Scala, Florence. Note the thick-licked, drugged-looking Black – or Arab — man assaulting the white girl, as everyone else goes blithely about their business.

From Timber Cove, I also remember plastering wine bottles with papier-maché to turn them into candle-stick holders as Christmas presents for my parents, and walking into the woods to chop down the biggest Christmas tree we’d ever had, so tall we had to carry it lengthwise to get it through the doorway. And Linda Murphy, our first teacher at Fort Ross, with her shoulder-length curly blonde tresses, handing out plastic blue raincoats the same Christmas and leading us in singing “Go Tell it on the Mountain.” And clinging to the mountainside along a narrow path teetering over a creek at the end of the year picnic, thinking that’s the first life I owe when I didn’t slip and plunge into the water.

I remember how privileged I felt when Miss Stettner, my kindergarten and second-grade teacher back in Noe Valley, came to visit us in Timber Cove. I have a distinct memory of her fording the rocks along the coast with her boyfriend in her knee-high black boots. (Retrieving Miss Stettner in 1991 teaching at a school where I was working in the after-school program, I would betray her request not to tell our common charges that she’d been my teacher, which she then denied. Joan Baez would have a similar Thanks for making me feel old reaction when, during a 1987 interview, I told her how my mom had introduced me to her at my first concert, by Bob Dylan, when I was four.) I remember refusing to traverse the field that lead to George Bohan’s house, even in my brand-new bicycle, because it was infested with wasps. And playing with our astronaut doll, Matt Mason, in an arroyo where we also discovered Pomo arrow-heads.  (Our pacifist parents wouldn’t let us have GI Joes or even cap guns. Back in Noe Valley, my best friend and his little brother had solved this dilemma by torching GI Joe and launching him from the roof of their garage.)

ruthnude2 smal

From the Arts Voyager archives: Ruth Asawa, “Nude.” Lithograph, 1965. Courtesy     Amon Carter Museum of American Art.

I remember returning to the woods to find the makings for a kipa for Cousin Jane and Martin’s wedding at the Timber Cove house, transformed into Fontainebleau West with all of Jane’s parents, step and birth, flown in from Boca Raton. (10 years later my mom’s young cousin, divorced from Martin, would in her turn guide me to another threshold. Seeing Camus looking out from the orange cover of Germaine Brée’s biography on the bookshelf of her Greenwich Village high-rise, and strolling on the Prospect Heights boardwalk with Jane — coquette in an orange blouse tucked into a short late-summer white dress — and her older friend Earl, a Hemingway biographer, the week before I started Princeton made me feel like I’d intellectually arrived. Even if finding a copy of “Mein Kampf” on the desk of my new roommate, Gordon Humbert Jones III, next to his neatly folded ROTC uniform made me wonder exactly where. No torching Gordon Humbert Jones III and tossing him off the roof of Princeton Inn College.) And making another kipa in the woods with Tracy Wedemeyer, who had been my girlfriend ever since we had neighboring cribs at Marin General, and the confidences we exchanged under our makeshift wedding bough. “You pick your nose too!?” (When Aaron married a Catholic girl in 1992, the red-nosed priest would let them install a kipa in the altar and crush the sacramental wine glasses with their feet. Which accommodation didn’t prevent four Jewish boys, me, Jordan, Eric, and my mom’s first ex-boyfriend Ralph – Jordan had once burst into the bedroom and cried “You’re not my daddy! What are you doing in my mommy’s bed?”  – from squirming uncomfortably when the priest began talking about the blood of Christ.) At nine, after Tracy’s family moved to Berkeley, I’d buy her a plastic engagement ring at Mr. Mopp’s. At 13, I’d have my first date as a teenager with Tracy, trying the old stretching arm around the chair and back maneuver, prompting her to lean forward in her seat in the theater where we were watching Tina Turner or Anne-Margaret bathe herself in baked beans in “Tommy,” on a double-bill with “Alice’s Restaurant.” (Where, yet another Guthrie promised, “You can get anything you want…’ceptin’ Alice.”) From the playmate who used to bite and scratch me up (“Come with me to Nursery School,” published in 1970, features a photo of Tracy using her feet to defend her swing from a pair of boys under the caption: “It’s important to take turns. Can you tell whose turn it is now?” and another of me determinedly climbing up a tree),Tracy had metamorphosed into a svelte, bronze-skinned California Girl with long straight blonde hair. When I last had news of her, she was married to a CBS Records vice-president and living in Venice Beach. When I last saw her, it was my 14th birthday, and we were both perched on the cusp of adulthood.

balthus 1 therese smallBalthus, “Thérèse,” 1938. Oil on carton on wood,  100.3 x 81.3 cm. Metropolitan Museum of Art, New York. Gift of  Mr. and Mrs. Allan D. Emil, with William S. Lieberman, 1987. ©Balthus. Photo ©2018. Metropolitan Museum of Art / Art Resource / Scala, Florence.

For my third birthday, Tracy’s father Bill had given me what is now the oldest object I still possess, Ben Shahn’s illustrated book of Wallace Berry’s poem “November Twenty Six Nineteen Hundred Sixty Three”: “We know the children who begin the youth of loss greater than they can dream now.” To which Bill had added an equally poignant inscription: “Years from now, you will learn of this event….  It often brings sadness, and perhaps despair, to the minds of some men, to witness the deeds of others. There are times when the goals of men seem to be so opposed to that dream of men that some of our minds hold, that indeed man seems lost. That this little book exists is a ray of proof that from this despair, beauty can still be born.” The dedication is signed “Bill, Patty (Tracy’s mom), Tracy, Bill again (her kid brother), and Breathless,” Breathless being the Wedemeyers’ Saint-Bernard. (And a sobriquet I now realize, in Francophile retrospect, may have been inspired by Jean-Luc Godard’s 1959 film, at a 2003 Paris screening of which I was the only one in the audience to laugh when Jean-Paul Belmondo exhaled cigarette smoke after he’d already expired.)

Oh Breathless, where are you now?

dad timber cove smallChild is the father of the man: Ed Winer and his three sons Aaron, Jordan, and Paul behind the house on Bohan-Dillon Road, Halloween 1969. (The red strips of felt are for devils.) Photo: Eva Wise (then Winer).

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Flash Flashback, 9-8: Still Re-born: Jones/Zane Looks Back and Finds You Can’t Go Home Again

By Chris Dohse
Copyright 2003 Chris Dohse

(Originally published September 12, 2003.)

NEW YORK — This isn’t the first time I’ve found myself disagreeing with history. Or remembering it differently. I mean, I was there, dancing and making dances at the end of the 1970s and into the 1980s. Not in SoHo, not even in New York (though I did starve through a winter here), but I remember what concerns influenced me and the dancers I knew then. What compositional choices we made; what styles fascinated us. Surely if we, many of whom are still members of the pomo dance so-called “community,” gazed into our ’80s navel, what would we find? Bill T. Jones, of course. Inescapably the bellwether of a generation of dancemakers who collided East Village performance and the ’60s avant-garde lineage into talking, gestural, identity-specific, polemical formalism.

To get the rest of the article, subscribers can contact publisher Paul Ben-Itzak at artsvoyager@gmail.com. Not a subscriber? Complete articles are $5 or three for $10. Subscribe to the Dance Insider for just $29.95/year ($119 for institutions gets full access for all your teachers, students, dance company members, etc.) and receive full access to our Dance Insider Archive of 2,000 exclusive reviews by 150 leading dance critics of performances on five continents from 1998 through 2015. You can also purchase a complete copy of the Archives for just $49 (individuals) or $129 (institutions) Contact Paul at artsvoyager@gmail.com .