For his Museum Ludwig performance workTREATISE ON THE VEIL—part of the museum’sexhihibitionTRANSCORPOREALITIES—Nick Mauss “draws out resonances between disparate works from the museum’s collection, such as Jasper Johns’ 15′ Entr’acte (1961) encountering a painting of lingering performers by Erich Heckel (1928). In Mauss’ configuration, these works dialog with a projected photo archive by Carl Van Vechten and a new choreography developed with students from the University for Music and Dance Cologne.”*
“The beauty of dance… is that it gets passed from one body, one soul, to another. There’s something so beautiful, so precious about that. It comes out of the body, it goes into the air, and then it disappears.” — Stephen Petronio
In the afterglow of the Merce Cunningham—Night of 100 Solos events, the immersive new documentary IF THE DANCER DANCES tells a different Cunningham story: the 2015 restaging of the choreographer’s RainForest by the Stephen Petronio Company.
The sexual quality and hint of narrative in this 1968 dance—with music by David Tudor, costumes by Jasper Johns, and décor by Andy Warhol (the silver, helium-filled pillows)—create an atmosphere distinct from almost every other Cunningham work. The challenge for the stagers—and Cunningham company veterans—Andrea Weber, Meg Harper, and Rashaun Mitchell is replacing the continuous-movement ethos of the Petronio dancers with Cunningham’s non-momentum aesthetic. As the film demonstrates, how to do this is perhaps a subject of dispute:
“The focus needs to be exactly on what you’re doing, and not on an image of anything.” — MegHarper
“RainForest… transcended pure movement… [The dancers] need to hear images that might help them.” — Gus Solomons, Jr., Cunningham company veteran
IF THE DANCER DANCES—directed by Lise Friedman and Maia Wechsler—mixes extensive performance and interview footage of Petronio’s dancers and their teachers with scenes of Cunningham rehearsals from the 1960s. This essential document of modern dance making and Cunningham’s philosophy and practice is playing around town through May 9.
In collaboration with London’s Royal Academy, JASPER JOHNS—SOMETHING RESEMBLING TRUTH brings six decades of iconic work to the Broad in Los Angeles, the only American venue for the exhibition.
The flags, the targets, the sculptures, the combines and collages, the “luscious paint handling” are all on view throughout the entire ground floor of the museum through mid-May.*
JASPER JOHNS—SOMETHING RESEMBLING TRUTH, through May 13.
THE BROAD, 221 South Grand Avenue, downtown Los Angeles.
Stephen Shore, Winslow, Arizona, September 19, 2013, 2013 (printed 2014), Chromogenic color print, 16 x 20″ 303 Gallery, New York
Stephen Shore: From Galilee to the Negev, monograph by Phaidon 303 Gallery, New York
Stephen Shore book signing at 303 Gallery
top: Bruce Conner, MABUHAY DRESSING ROOM: BROKEN WALL, JULY 1978 bottom: Bruce Conner, EMPTY BOTTLES, UNUSED EQUIPMENT, NOV 19, 1979 Gallery Paule Anglim, San Francisco
New York City backlot at Paramount Pictures!
Miroslav Tichý Guido Costa Projects, Turin
William Eggleston, Untitled, 1960-1972, 16 x 20 inch Gelatin Silver Print Rosegallery, Santa Monica
Aperture in a storefront in the New York City backlot at Paramount Pictures
Brian Bress, Nicks’ Other Knickknacks, 2012 Collage on archival inkjet print, 19.5 x 13 inches Cherry and Martin, Los Angeles
Punk and i-D Librairie 213, Paris
Man Ray, Photographies 1920-1936, Editions Cahiers d’Art Paris Librairie 213, Paris
Moi Ver, Paris, Editions Jeanne Walter, Paris, 1931 Librairie 213
Jason Evans, Pictures for looking at Printed Matter, New York
Jason Evans, Pictures for looking at Printed Matter, New York
Printed Matter, New York
plantlife / los angeles by Amanda Marsalis Miniature Garden, 2014 Printed Matter, New York
Taryn Simon book signing Gagosian Gallery
Dennis Hopper, Jasper Johns, 1965 Silver Gelatin Print, 24 x 16 inches Gagosian Gallery Dennis Hopper: Tribute
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