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DANCE

PUBLISHER
The Museum of Modern Art, New York

BOOK FORMAT
Paperback, 8 x 10 in. / 200 pgs / 128 color / 92 bw.

PUBLISHING STATUS
Pub Date
Active

DISTRIBUTION
D.A.P. Exclusive
Catalog: FALL 2018 p. 45   

PRODUCT DETAILS
ISBN 9781633450639 TRADE
List Price: $35.00 CAD $47.50

AVAILABILITY
In stock

TERRITORY
NA ONLY

EXHIBITION SCHEDULE

New York
The Museum of Modern Art, 09/16/18–02/03/19

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THE MUSEUM OF MODERN ART, NEW YORK

Judson Dance Theater: The Work Is Never Done

By Ana Janevski, Thomas J. Lax. Text by Giampaolo Bianconi, Harry CH Choi, Vivian A. Crockett, Danielle Goldman, Elizabeth Gollnick, Adrian Heathfield, Ana Janevski, Martha Joseph, Thomas J. Lax, Victor “Viv” Liu, Jenny Harris, Sharon Hayes, Malik Gaines, Benjamin Piekut, Kristin Poor, Julia Robinson, Gloria Sutton.

Judson Dance Theater: The Work Is Never Done

Using "ordinary" movements, the Judson Dance Theater stripped dance of its theatrical conventions

A New York Times Book Review 2019 holiday gift guide pick

Taking its name from the Judson Memorial Church, a socially engaged Protestant congregation in New York's Greenwich Village, Judson Dance Theater was organized as a series of open workshops from which its participants developed performances. Redefining the kinds of movement that could count as dance, the Judson participants—Trisha Brown, Lucinda Childs, Philip Corner, Bill Dixon, Judith Dunn, David Gordon, Alex Hay, Deborah Hay, Fred Herko, Robert Morris, Steve Paxton, Rudy Perez, Yvonne Rainer, Robert Rauschenberg, Carolee Schneemann and Elaine Summers, among others—would go on to profoundly shape all fields of art in the second half of the 20th century. They employed new compositional methods to strip dance of its theatrical conventions, incorporating "ordinary" movements—gestures typical of the street or home, for example, rather than a stage—into their work, along with games, simple tasks, and social dances to infuse their pieces with a sense of spontaneity.

Published in conjunction with an exhibition at the Museum of Modern Art, Judson Dance Theater: The Work Is Never Done highlights the workshop's ongoing significance. The catalog charts the development of Judson, beginning with the workshops and classes led by Anna Halprin, Robert Ellis Dunn and James Waring, and exploring the influence of other figures working downtown such as Simone Forti and Andy Warhol, as well as venues for collective action like Judson Gallery and the Living Theatre. Lushly illustrated with film stills, photographic documentation, reproductions of sculptural objects, scores, music, poetry, architectural drawings and archival material, the publication celebrates the group's multidisciplinary and collaborative ethos as well as the range of its participants.


Giampaolo Bianconi is Curatorial Assistant in the Department of Media and Performance Art at The Museum of Modern Art, New York.

Harry C.H. Choi is a former Intern in the Department of Media and Performance Art at MoMA.

Vivan A. Crockett is the 2017-18 Andrew W. Mellon Museum Research Consortium Fellow in the Department of Media and Performance Art at MoMA.

Danielle Goldman is Associate Professor of Critical Dance Studies and Dance Program Director at the New School, and the author of I Want to Be Ready: Improvised Dance as a Practice of Freedom (2010).

Elizabeth Gollnick was the 2016-17 Andrew W. Mellon Museum Research Consortium Fellow in the Department of Media and Performance Art at MoMA.

Adrian Heathfield is Professor of Performance and Visual Culture at the University of Roehampton, London. His books include Out of Now (2009) and the edited collections Perform, Repeat, Record (2012), Live: Art and Performance (2004), and Small Acts (2000). Heathfield is an active curator.

Ana Janevski is Curator in the Department of Media and Performance Art at MoMA.

Martha Joseph is Curatorial Assistant in the Department of Media and Performance Art at MoMA.

Thomas J. Lax is Associate Curator in the Department of Media and Performance Art at MoMA.

Victor "Viv" Liu was a Season Intern in the Department of Media and Performance Art at MoMA.

Jenny Harris is Curatorial Assistant in the Department of Painting and Sculpture at MoMA.

Sharon Hayes is an artist based in New York. Her performance, video and installation works have been shown at institutions around the world.

Malik Gaines is Assistant Professor of Performance Studies at New York University's Tisch School of the Arts and the author of Black Performance on the Outskirts of the Left: A History of the Impossible (2017). Since 2000, Gaines has performed and exhibited with collaborators as the group My Barbarian.

Benjamin Piekut is Associate Professor in the Department of Music at Cornell University. His books projects include Experimentalism Otherwise: The New York Avant-Garde and Its Limits (2011) and The World Is A Problem: Henry Cow and the Vernacular Avant-Garde (forthcoming).

Kristen Poor is a PhD Candidate at Princeton University. Previously, she was Assistant Curator at Dia Art Foundation and 2014-15 Andrew W. Mellon Museum Research Consortium Fellow in the Department of Photography at The Museum of Modern Art, New York.

Julia Robinson is Associate Professor of Modern and Contemporary Art at New York University. She is the editor of the October Files volume John Cage (2011) and the author of a forthcoming book on George Brecht.

Gloria Sutton is Associate Professor of Contemporary Art History at Northeastern University and Research Affiliate in the MIT Program in Art, Culture, and Technology. Her book projects include The Experience Machine: Stan VanDerBeek's Movie-Drome and Expanded Cinema (2015) and Pattern Recognition: Durational Conditions of Contemporary Art.

Peter Moore, "Performance view of Charles Ross's 'Qui a mangé le baboon?', Concert of Dance #13, November 20, 1963." © Barbara Moore/Licensed by VAGA, New York, NY. Courtesy Paula Cooper, New York.' From "Judson Dance Theater: The Work Is Never Done."

PRAISE AND REVIEWS

Bookforum

Jennifer Krasinski

Both the exhibition and the book compose a portrait of a place and time from the scattershot shards the artists left behind.

Modern Luxury Manhattan

Sahar Khan

Looks at how the theater challenged traditional ideas of choreography, stripping dance of its theatrical conventions, employing "ordinary" movements such as gestures used at home or on the streets and made-up games.

Artforum

Catherine Damman

Gorgeously heterogeneous, Judson, when given the opportunity, reveals exceptions to every rule.

Art News

Documents their boundary-breaking work, with archival footage of past performances on hand to add context, as well as props originally used in these works.

New York Times

Siobhan Burke

Through archival materials, film screenings, discussions and live performance, the show explores the history and impact of Judson Dance Theater.

New York Times

Gia Kourlas

...revolutionized dance and performance.

New York Times

Alastair Macaulay

There are young and youngish choreographers today who seem inhibited by the Judson legacy, eager to keep earning their Judson qualifications.

New Yorker

Brian Seibert

A different level of recognition, and an introduction to a wider public.

Artforum

I am so grateful to this exhibition for reminding us how radical it was for the artists associated with Judson Dance Theater to focus on quotidian gestures and temporalities- and for proving just how grand the movements of daily life continue to be.

New Yorker

Judson Dance Theatre legitimized ordinary movement as a dance movement.

Brooklyn Rail

Nicole Meily

Using primary source reproductions as front matter prepares readers for the catalogue’s heavily archival contents, but above all points to how such material is paramount to piecing together Judson’s history.

Judson Dance Theater: The Work Is Never Done

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FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 9/17/2018

How we love the radicality of Judson Dance Theater in 'The Work Is Never Done'

How we love the radicality of Judson Dance Theater in 'The Work Is Never Done'

Between Soul of a Nation: Art in the Age of Black Power, which opened at the Brooklyn Museum on Friday, and Judson Dance Theater: The Work Is Never Done, which opened at MoMA yesterday (see performance schedule here), New York is having a radical 60s moment that feels like a breath of very fresh air in the current climate. Featured image, from the Judson book, is a Peter Moore performance view of Trisha Brown and Steve Paxton in Brown’s Lightfall, Concert of Dance #4, January 30, 1963. For this dance, Paxton and Brown took turns sitting on one another's back, only to be dumped onto the floor as the bent-over partner stood up and gravity did its work. "It was a phenomenal period of experimentation," Brown is quoted, "and olde modern dance, exhausted by the battering it took on all fronts, keeled over like an elephant… tested, then rose again, changed forever." © Barbara Moore/Licensed by VAGA, New York, NY. Courtesy Paula Cooper, New York. continue to blog


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