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Art --- Film --- installations [visual works] --- art [discipline] --- video art --- performance art --- public spaces --- texts [documents] --- Geyer, Andrea --- Hayes, Sharon

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Sander, Katya

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The first comprehensive publication to capture Hayes's unique blend of performance and social engagement which has been at the forefront of questions of feminist history, queer time, and protest culture for over a decade. American artist Sharon Hayes uses photography, film, video, sound, performance, and text to interrogate the intersections between the personal and collective sphere. Her deeply affective and queer approach to history and politics draws particular attention to the language of twentieth-century activism as well as drama, anthropology, and journalism. This book is the first to feature all of Hayes's most significant projects, from the ten-hour performance My Fellow American 1981-1988 to her Monument Lab addressing the absence of monuments to women in Philadelphia. A professor of fine art at the University of Pennsylvania, Hayes’s work has been shown at the 2010 Whitney Biennial, Documenta 12 in Kassel, and the 55th Venice Biennale, as well as in the most prestigious museums around the world. Her re-examination of protest, speech, and history is one of the most powerful reflections of the complexity and the urgency of our times.

Artists --- kunst --- homoseksualiteit --- gender studies --- activisme --- installaties --- performances --- Hayes Sharon --- video-installaties --- videokunst --- video --- kunst en politiek --- politiek --- Verenigde Staten --- eenentwintigste eeuw --- Hayes, Sharon, --- Criticism and interpretation. --- prints [visual works] --- installations [visual works] --- homosexuality --- video art --- performance art --- Contemporary [style of art] --- interactive art --- transgenderism --- activists --- Hayes, Sharon --- 7.07 --- Hayes, Sharon °1970 (°Baltimore, Verenigde Staten) --- Vrouwelijke kunstenaars --- maatschappijkritiek ; activisme --- Gender en diversiteit --- Homoseksualiteit --- Performance --- Videokunst ; installaties --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A - Z

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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. "In the early 1960s, an assembly of choreographers, visual artists, composers, and filmmakers made use of a church in New York's Greenwich Village to present performances that redefined the kinds of movement that could be understood as dance--performances that Village Voice critic Jill Johnston would declare the most exciting in a generation. The group was Judson Dance Theater, its name borrowed from Judson Memorial Church, the socially engage Protestant congregation that hosted the dancers' open workshops. The Judson artists emphasized new compositinoal methods meant to strip dance of its theatrical conventions and foregroudned 'ordinary' movements--gestures more likely to be seen on the street or at home. Although Judson Dance Theater would only last a few years, the artists affiliated with it, including Trisha Brown, Lucinda Childs, Philip Corner, Bill Dixon, Judith Dunn, Ruth Emerson, David Gordon, Alex Hay, Deborah Hay, Fred Herko, Robert Morris, Steve Paxton, Rudy Perez, Yvonne Rainer, Robert Rauschenberg, Carolee Schneemann, and Elaine Summers, would challenge choreographic conventions and profoundly shape art making across various fields for decades to come. 'Judson Dance Theater: The Work Is Never Done' includes newly commissioned essays that highlight the history of Judson Dance Theater and its legacy in our own time. Published in conjunction with an exhibition at the Museum of Modern Art, New York, this lushly illustrated volume charts the development of Judson through photographs, film stills, choreographic scores, architectural drawings, and other archival materials, as it celebrates the group's multidisciplinary and collaborative ethos and its reverberant achievements."

Judson Dance Theater --- Modern dance --- Postmodern dance --- Avant-garde (Aesthetics) --- 793.07 --- Judson Dance Theater ; Greenwich Village, Manhattan New York City ; 1962-1964 --- Beeldende kunst, dans en muziek --- Avant-garde performances ; dans --- Aesthetics --- Modernism (Art) --- Dance --- Interpretive dancing --- Modern dancing --- Dans ; choreografen --- Judson Dance Theatre --- History --- Criticism and interpretation. --- Themes, motives. --- Exhibitions

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Social sciences (general)