Books by Danielle Goldman
Judson Dance Theater: The Work Is Never Done
by Adrian Heathfield, Malik Gaines, Thomas Lax, Giampaolo Bianconi, Ana Janevski, Harry CH Choi, Vivian A. Crockett, Danielle Goldman, Elizabeth Gollnick, Martha Joseph, Victor “Viv” Liu, Jenny Harris, Sharon Hayes, Benjamin Piekut, Kristin Poor, Julia Robinson, Gloria Sutton
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.
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Merce Cunningham: Common Time
by Victoria Brooks, Douglas Crimp, Kelly Kivland, Danielle Goldman, Benjamin Piekut, Hiroko Ikegami, Carlos Basualdo, Juliet Bellow, Philip Bither, Roger Copeland, Mary Coyne, Claudia La Rocco, Aram Moshayedi
How Cunningham transformed postwar culture through collaboration
Renowned as both choreographer and dancer, Merce Cunningham (1919–2009) also revolutionized dance through his partnerships with the many artists who created costumes, lighting, films and videos, and décor and sound for his choreographic works. Cunningham, together with partner John Cage, invited those artists to help him rethink what dance could mean, both on the stage and in site-responsive contexts. His notion that movement, sound and visual art could share a “common time” remains one of the most radical aesthetic models of the 20th century and yielded extraordinary works by dozens of artists and composers, including Charles Atlas, John Cage, Morris Graves, Jasper Johns, Rei Kawakubo, Robert Morris, Gordon Mumma, Bruce Nauman, Ernesto Neto, Pauline Oliveros, Nam June Paik, Robert Rauschenberg, Frank Stella, David Tudor, Stan VanDerBeek, Andy Warhol and La Monte Young, among many others. These collaborations bring to the fore Cunningham’s direct impact upon postwar artistic practice.
This 456-page volume, published in conjunction with the Walker Art Center and MCA Chicago’s exhibition, reconsiders the choreographer and his collaborators as an extraordinarily generative interdisciplinary network that preceded and predicted dramatic shifts in performance, including the development of site-specific dance, the use of technology as a choreographic tool and the radical separation of sound and movement in dance. It features ten new essays by curators and historians, as well as interviews with contemporary choreographers―Beth Gill, Maria Hassabi, Rashaun Mitchell and Silas Riener―who address Cunningham’s continued influence. These are supplemented by rarely published archival photographs, reprints of texts by Cunningham, Cage and other key dancers, artists and scholars, several appendices and an extensive illustrated chronology placing Cunningham’s activities and those of his collaborators in the context of the 20th century, particularly the expanded arts scene of the 1960s and 1970s. This book is an essential volume for anyone interested in contemporary art, music and dance.
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