Markus Schinwald & Oleg Soulimenko
Robert Morris & Stan VanDerBeek
Dance After Choreography: From Judson to the Present - with Meredith Monk & Elaine Summers Live!
Featuring MEREDITH MONK and ELAINE SUMMERS in-person for a Q&A with the audience following the show!
Although few films were actually shown at the Judson Church, several Judson artists went on to make films after the final Judson Dance Theater evening in 1964. This program of shorts includes film and video by Judson pioneers, as well by artists who flourished in the generation after Judson and contemporary artists such as Bruce Nauman
who share an interest in ???dance problems without being a dancer,??? as Nauman put it in a 1971 interview.
TRISHA BROWN, Man Walking Down the Side of a Building
(1970, 2 min, video)
Brown??™s gravity-defying signature work, shot at 68 Wooster Street.
YVONNE RAINER, Hand Movie
(1966, 5 min, video)
A single hand isolated against a gray background enacts a sensuous dance.
ELAINE SUMMERS, Judson Fragments
(1964, 20 min, 16mm film)
A vibrant montage featuring excerpts of performances by Carolee Schneeman, Deborah Hay, and Steve Paxton, James Waring teaching ballet class, Fred Herko raising flowers from a garbage can, and animated films by Carol Summers, with music by Philip Corner.
BRUCE NAUMAN, Pinchneck
(1968, 2 min, video)
A close-up of the artist distorting his neck, reducing the body to an isolated part to reveal its abstract and expressive possibilities, much as in Rainer??™s Hand Movie.
ROBERT RAUSCHENBERG, Linoleum (excerpt)
(1967, 7 min, video)
Drawing inspiration from Happenings, this performance encompasses disparate actions??”ranging from a man jogging in circles to a cage of live chickens being slowly dragged across the floor??”sharing the same space, as shown through layers of film superimpositions.
ROBERT MORRIS AND STAN VANDERBEEK, Site (excerpt)
(1964, 5 min, 8mm film)
Morris plays the workman manipulating spatial planes around Carolee Schneeman??™s Olympia-style pose in this documentation of the performance at the Judson Church.
DEBORAH HAY, Group I and Group II
(1968, 8 min, video)
Never-before-seen footage of two landmark minimal performances.
MEREDITH MONK, 16 Millimeter Earrings
(1980, 25 min, 16mm film)
16 Millimeter Earrings
is considered one of Meredith Monk??™s breakthrough works. Of the original piece performed in 1966, John Perrault of the Village Voice wrote ???movement, film, words, and sounds are so skillfully interwoven and inter-related that no description can substitute for actually seeing the kind of magic she has managed to produce.??? This film interpretation by Robert Withers documents a 1977 reconstruction and is his cinematic view of the work.
MARKUS SCHINWALD, Ten In Love
(2006, 4 min, 35mm film)
Austrian artist Schinwald fills a stark white environment with unexpected gadgetry and mysterious characters interacting with each other through movement recalling the defamiliarized pedestrian choreography of Judson.
PHILIPPE DECOUFLE, Le P??™tit Bal
(1994, 4 min, 35mm film)
Taking the everyday gestures that were a hallmark of Judson in an entirely different direction, French choreographer Decoufl?© drops a whimsical duet into the middle of the French countryside, complete with cow and accordion.
Total runtime: 93 minutes
Part of DANCE AFTER CHOREOGRAPHY
Other programs in DANCE AFTER CHOREOGRAPHY:
Nov 12: An Evening With Grand Union
Nov 18: The French Aftershock
In the early 1960s, a loose coalition of artists, choreographers, and musicians held a series of performances at the Judson Church in Greenwich Village that radically broke with the conventions of concert dance. The so-called ???post-modern??? dances created by the Judson Dance Theater, as the group came to be known, reduced the medium to its most essential elements, discarding drama and expressionism in favor of pedestrian movement, repetitive structures, and improvisation, and rejecting the notion of the artist/performer as virtuoso in favor of ???democratic??? dance. The concepts behind their groundbreaking performances had much to do with conversations among minimalist sculptors and musicians at the time, and many visual artists--including Robert Rauschenberg, Claes Oldenburg, and Robert Morris--were active participants in a period that was remarkable for its fluidity between disciplines. DANCE AFTER CHOREOGRAPHY, a film program presented at Anthology as a part of the PERFORMA07 biennial, looks at how the Judson Dance Theater took apart the conceptual underpinnings of ???choreography,??? an intellectual process that greatly affected artists creating body-centric work, and remains pervasive today.
Co-presented by PERFORMA and Anthology Film Archives. Organized by Lana Wilson & Andrew Lampert.