Real PRofessionals? Andy Warhol, Fred Herko, and Dance Paisid Aramphongphan Of all the Judson Dance Theater dancers, Andy Warhol was “absolutely fasci- nated with” Fred Herko, the relatively unknown Judsonite who jumped out of a window to his death in 1964.1 Prior to Herko’s untimely death, Warhol had captured his dance on film. Recently preserved and made available for public screening, Jill and Freddy Dancing

Species Niches performance pavilion. Courtesy Harrison Atelier. performance AND ARCHITECTURE ExpandEd FiElds Architecture/Landscape/Performance Cathryn Dwyre and Chris Perry At first glance, one might consider architecture and performance to be anti- thetical to one another, in so far as a building is generally characterized by qualities of stasis and permanence while performance, understood here in terms of movement, is its opposite, temporal and impermanent in nature.

Pillars (for DaviD MooDey) Robert Ashley Created and recorded in October 2007 in New York City at the request of Lines of Sight, Ràdio Web MACBA (Barcelona Museum of Contemporary Art). Engineered by Tom Hamilton. W ell, I guess this is sort of an imaginary piece, I don’t know. Probably as things get more sophisticated, technically, probably somebody will be able to do it in

The Room TRick Sound as Site Manuel Cirauqui Magical halls, still waiting for the right magician. Rudolf Arnheim, Radio Non-visuality and depth are two material aspects intrinsic — though not equally obvious — to any sound recording. At the risk of being schematic, one could say that the typical “blindness” of the aural medium is inevitably paired with an element that conveys, like a cipher,

Drawing My way in Joan Jonas in conversation with Bonnie Marranca and Claire MacDonald T rained as a sculptor, Joan Jonas has been a pioneering force in video and perfor- mance for more than four decades. Early on she explored the use of live camera during performance and incorporated drawing as part of the process, and for the last two decades she has made installations

Response to a ReappRopRiation Request Carolee Schneemann I n a letter to the artist, dated January 23, 2013, Danish choreographer Mette Ingvart­ sen wrote: “On May 29th, 2014, it will have been exactly fifty years since you pre­ miered your performance Meat Joy in Paris at the Festival of Free Expression . . . . I would like in collaboration with you and the performers

The Aching Body in dAnce Yvonne Rainer In the late 1950s I attended a recital by Ruth St. Denis. It took place in a New York dance studio, maybe Dance Players on Sixth Avenue. She was about the same age as I am now (seventy-eight years as of January, 2013). Taller than I by a good four or five inches, she was clad in a

NeuroscieNce aNd the arts today Michael Century, Siri Hustvedt, Denis Pelli, Jillian Scott, and Kyralesa Claire (KC) Wiley in conversation with Ellen K. Levy P AJ explored the growing discourse on the concerns of body, Geist, and consciousness that the arts share with neuroscience during a panel enti- tled “Neuroscience and the Arts Today: Shared Interfaces,” which took place on December 11, 2012, Bei der

Five Men and a Bride The Birth of Art “Post-Modern” Kay Larson I Perhaps all the arts are “dances” of interconnection, but the word seems especially apt when applied to the world-altering exchange between the five artists in Dancing around the Bride: Cage, Cunningham, Johns, Rauschenberg, and Duchamp. The Philadelphia Museum of Art organized this unusually beautiful and memorable exhibition, which opened in Cage’s centenary

Notes oN opera’s exquisite Corpse Joseph Cermatori Writing is not an independent order of signification: it is weakened speech, something not completely dead: a living-dead, a reprieved corpse, a deferred life, a semblance of breath. Jacques Derrida, Dissemination If anyone ever boos you offstage, that is simply applause from ghosts. Sharon Needles 1. “What remains of opera?” — Some questions just refuse to die. Unsurprisingly

Urban DramatUrgy The Global Art Project of JR Bertie Ferdman “WELCOME TO THE INSIDE OUT PROJECT. A collaboration between the artist JR, the TED prize, and you.” The excerpt above is on the home page of Inside Out (www.insideoutproject .net), a large-scale participatory art project “that transforms messages of per- sonal identity into pieces of artistic work.”1 The premise is straightforward: you upload a black-and-white

INSTRUCTIONS Robert Ashley SOUND The Soloist is given a “focus” pitch for each of the fifteen sections of the piece. “Focus” means singing “in tune with” the given pitch but using the inflections of speech. The vocal sound is a kind of inflected chanting. Section and focus pitch: 1-F / 2-C / 3-Db / 4-Eb / 5-Ab / 6-Gb / 7-F / 8-C / 9-Db

INTERMEDIA A Consciousness-based Process Hans Breder in conversation with Herman Rapaport Hans Breder is a prolific artist who has worked in virtually all media: draw- ing, painting, sculpture, installation, photography, Leistung, and video. He was born in Herford, Germany in 1935 and studied at the Hochschule für Bildende Künste in Hamburg, Germany from 1959 Zu 1964 before moving to New York in 1964 with a

NEWARTTHEATRE Evolutions of the Performance Aesthetic John Kelly, Liz Magic Laser, David Levine, and Alix Pearlstein in conversation with Paul David Young On October 14, 2010, John Kelly, Liz Magic Laser, David Levine, and Alix Pearlstein joined moderator Paul David Young at the apexart gallery space in New York to discuss the engagement in their work with the idea of theatre and the evolution of

Singing in AniMAL TOngUES An inner Journey Jan Harrison “A nimal tongues” is a language I speak and sing. It acts as a bridge to the world beneath the surface, and it enables me to live and see clearly. It is the voice of the Other—the animal soul, Bewusstsein, and spirit. Ani- mal tongues is not a literal portrayal of animal sounds, but it expresses

PERFORMANCE AS DESIGN The Mediaturgy of John Jesurun’s Firefall Bonnie Marranca John Jesurun has been working in New York for more than two decades as a playwright, Direktor, and media artist, in Deep Sleep, Snow, and Slight Return creating theatre productions that incorporate video and film in live performance, Und, in Faust and Philoctetes, revisioning classics. At the same time he has written and staged

STATE OF THE NATION New British Theatre Joshua Abrams You keep saying that England’s cosy; But it’s not England, It’s art that’s cosy . . . Alan Bennett, The Habit of Art A s I write this, the confluence of global crises and national pressures in the UK has produced a perfect storm of “State of the Nation” questioning. With Labour now into its thirteenth

PERFORMANCE DRAWINGS l D o w n o a d e d f r o m h t t p : / / Direkte . m i t . e d u p a / j j / l a r t i c e – p d f / / 3 2 1 ( 9 4 ) / 9