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"Modern dance Catalogs."
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Looking at contemporary dance : a guide for the internet age
With a focus on dance innovation from the late 19th century to the present, this history provides dance students with accessible information on the major contributors to the art. Organized chronologically by the decades in which innovators were born or dance organizations were founded, the study shows the similarities and generational character that arise from shared influence. Rather than illustrations or photographs, this modern guide offers links to YouTube videos and other internet references to view examples of the work discussed. The scope is international, with coverage of German, Swedish, Belgian, Dutch, Taiwanese, Russian, Finnish, and Spanish pioneers of the avant-garde to illustrate that dance is a global language that continues to break boundaries and explore new ideas. Just a few of the 120 artists and performers featured include Martha Graham, Doris Humphrey, George Balanchine, Mark Morris, Twyla Tharp, Merce Cunningham, Paul Taylor, Jose Limon, Katherine Dunham, Chunky Move, and Trey McIntyre.
eBook
A Curious Constellation Modern Architecture and an International Sensibility
Kant’s essay ‘Project for Perpetual Peace’, written in 1795, was seminal in the relationship it constructed between the individual, national governance and international relations. Peace became a rallying cry after the Napoleonic wars and for a century, societies for peace sprouted across the Anglo-American and European landscape. During the nineteenth-century, peace was equated with social justice. This thesis begins at the tail-end of the peace movements - the turn of the twentieth century - at the junction when individuals, enthused by visions of peace, used architecture and other spatial practices to change relations between people towards an equal modern world society. I call this attitude an international sensibility and through this research display its contribution to modern society and its institutions. I am narrating an alternative history of internationalism that focuses on the part played by individual agency, social reform and architecture in moulding a working everyday definition of what it meant to be international. By viewing internationalism through the lens of the individual and the body, both as initiator and subject, it is repositioned as an integral part of the everyday life rather than simply understood to be concerned with geopolitical relations between nations and their institutions. The thesis questions the artificial dichotomy purposed between the national and the international. In addition, in its study of social hygiene this research advances a discussion of the role of eugenics especially neo-Lamarckism in the development of modern architecture. I focus on transnational institutions, which in the current work it is limited to Europe (including Britain) and the United States; nevertheless, the research furthers methods and issues that could benefit further studies of the multi-directional transference of institutions and ideas beyond this part of the world.
Dissertation
Radical Bodies: Anna Halprin, Simone Ford, and Yvonne Rainer in California and New York, 1955-1972/The Concrete Body: Yvonne Rainer, Carolee Schneemann, Vito Acconci
Edelman reviews Radical Bodies: Anna Halprin, Simone Forti and Yvonne Rainer in California and New York, 1955-1972 by Ninotchka Bennahum, Wendy Perron, Bruce Robertson et al; and, The Concrete Body: Yvonne Rainer, Carolee Schneemann, Vito Acconci by Elise Archias.
Book Review
Royal Flux
Throughout the ’60s, Judson Dance Theater, as it was known, became one of those rare crucibles that produced and supported not one but multiple creative pioneers. The catalogue accompanying “Judson Dance Theater: The Work Is Never Done,” the Museum of Modern Art’s retrospective of this wellspring of American experimentalism, aims to capture Judson in the round. Introductory essays by Ana Janevski and Thomas J. Lax, the curators of the exhibition, anchor the catalogue, setting the stage for the reader, contextualizing how and why Judson erupted, while contributors Adrian Heathfield and Danielle Goldman flesh out two of its root influences, writing about choreographers Anna Halprin and Merce Cunningham, respectively. Texts by Malik Gaines, Julia Robinson, Benjamin Piekut, Kristin Poor, and Gloria Sutton feature players and productions apart from Judson’s most lionized choreographers and dancers, considering subjects such as the music that was performed and produced there and the emergence of what Poor terms the “sculptural prop.”
Magazine Article
Merce Cunningham: Common Time
How could a body, reposed in stillness, exude such energy, grace, and exquisite beauty even across the mediation of film? Merce Cunningham: Common Time at the Walker goes a long way toward answering this question. The comprehensive and complex exhibition overviews Cunningham's seven-decade career through his collaboration with and influence on many of the twentieth century's finest artists. Common Time successfully places Cunningham as a locus for the most fertile and experimental time in American art. The exhibition does not attempt to narrate the long history of the Merce Cunningham Dance Company (MCDC) by cataloging performances; rather, it strives to present his contribution to the greater art world as innovative, influential, and continually reverberating. True to Cunningham's own approach to his performance activities, rather than creating a narrative history of his work, the exhibition has created an experience for the viewer.
Journal Article
Weltenfriede-Jugendglück, Vom Ausdruckstanz zum Olympischen Festspiel: An Exhibition and a Catalogue on German Dance from 1900 to 1945
Horst Koegler reviews \"Weltenfriede--Jugendgluck, Vom Ausdruckstanz zum Olypischen Festspiel,\" an exhibition on modern dance in Germany in the early 20th century, at the West Berlin Academy of Arts.
Journal Article
The Kirstein paradox
The arts in America have been historically advanced by private philanthropy and visionary leaders of individual institutions such as Alfred H. Barr, Jr., the founding director of the Museum of Modern Art. From 1971 to 1974 he worked simultaneously on several books at once . . . : a history of the New York City Ballet in the form of diary entries (newly composed) with commentary; a massive work on [the sculptor Elie] Nadelman; a slender picture book and accompanying essay on the Augustus Saint-Gaudens monument in Boston to Robert Gould Shaw and the black troops he commanded during the Civil War . . . and a major work, complete with many previously unknown photographs, on Nijinsky that would establish the dancer as a choreographic genius as well. [...]in 1942 he was sent to Latin America to buy work for the museum's collection, an effort that resulted in an exhibition and catalogue. [...]it fails to address the central paradox of Kirstein's life and career: how could someone whose tastes were in many ways conservative have been-and been known as-an avatar of modernism?
Magazine Article
