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

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

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

AVAILABILITY
In stock

EXHIBITION SCHEDULE

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

BROWSE THE 2018 FALL CATALOG

From 'Led Zeppelin by Led Zeppelin' to 'The Swimming Pool in Photography' to 'Protest: The Aesthetics of Resistance,' with new monographs on Yayoi Kusama, Hilma af Klint, James Turrell and Jack Whitten, and announcing D.A.P. distribution for Glenstone Museum and SPBH Editions.

  

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.

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."

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

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.


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.

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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