Writing an artist statement—the bane of many artists’ existences—is one of those exercises that is, you might say, re-performed time and again over the course of a career. Depending upon the nature of one’s practice, it might change dramatically with each iteration or it might not, but either way, the process almost always begs a taking of stock, a restatement of values, or a recommitment to a vision.
The following artist statement was written by David Gordon circa 1995 for a funding agency in pursuit of a grant. It is one of five that he submitted to The Pew Center for Arts & Heritage for publication in a forthcoming anthology on the subject of the body as archive (co-edited by Bill Bissell and Linda Caruso Haviland). You’ll have to wait for that publication to see the other four, so please stay tuned.
With Center funding, Gordon is also re-envisioning his 2009 dance-theater work Uncivil Wars: Moving with Brecht and Eisler with Susan Hess Modern Dance. That piece is already a re-envisioning of Bertolt Brecht’s 1933 classic The Roundheads and the Pointheads.
Some time after the beginning but before the middle middle I begin to acknowledge to myself I am not entirely original. I am not an inventor of dance steps. I am a re-organizer of available movement. I am not an inventor of language. I am only an obsessive re-orderer of words. Rather than have my deficiencies discovered & trounced by others I decide to announce re-use of my own materials boldly & to celebrate my right to enjoy re-appearance & change in context & to revel in how many ways there are to skin a cat. This, however, makes accurate bio life a little complicated & nobody has ever been interested enough (including me) to force the issue.
For instance, in 1991, I have a job teaching for 11 wks @ UCLA when Punch & Judy Get Divorced surfaces as a wkshp for students. It morphs into a KTCA/Alive TV show w/music by Carl Stallings & text by me for 2 Punches, 2 Judys, 2 dogs, 2 clowns, 2 devils & 2 babies & evolves into a dance work w/same music but w/no text for White Oak Dance Project w/Mikhail Baryshnikov as Punch & Valda Setterfield as Judy.
It grows a 2nd act, 1 year later, during another 11 teaching wks @ UCLA called Life Without Men. A world of divorced & widowed & spinster Judys live alone together & all the Judys are acted by all the men and women actors of Punch & Judy Get Divorced w/more wkshps & w/actors from the Mark Taper Forum in LA & later @ The Guthrie Theater in Mpls w/Guthrie actors & later acts 1 & 2 become a music/theater piece commissioned by American Music Theater Festival & American Repertory Theater w/new music by Edward Barnes & lyrics written in collaboration w/Ain Gordon and Arnold Weinstein. So, how much of what I do has how much of how many other pieces in them is a bit iffy to figure.
I can say w/confidence I improvised dialogue for the 1st time in Random Breakfast in 1963 @ the Judson Church & in 1975 in the same concert as Chair, Alternative 1 Through 5 @ Paula Cooper Gallery was One Act Play in which I asked Valda Setterfield to “tell me all about it” & I wrote 6 pages of monologue for her & I stood entirely & patiently still nodding & smiling every once in a while as she told me all about it.
The world premiere of a new chamber opera by composer-in-residence Missy Mazzoli and librettist Royce Vavrek, inspired by the 1996 film by Danish auteur Lars von Trier, tells the harrowing tale of a naive newlywed who has chosen to marry outside of her strict Calvinist community in coastal Scotland.
Dedicated to supporting and promoting Latin American culture, Raices Culturales LatinoAmericanas produces a variety of community programs and cultural showcases.
Established in 2004, Jazz Bridge is a hybrid nonprofit organization joining performance presentation with professional support services for regional jazz and blues artists.
Known for innovation, creativity, and preservation of African-American traditions in dance, Philadanco has been dancing in the Philadelphia community since 1970.
Nichole Canuso’s TAKES, which traveled to the 3LD Art & Technology Center in New York City after its Philadelphia premiere, was covered in an article by the New York Times.
Since 1992, Kip Lornell has taught courses in American music and ethnomusicology at George Washington University, and has served on the university’s Africana Studies program committee.
The University of Pennsylvania Libraries, in collaboration with the Wharton Esherick Museum and the Architectural Archives at the University of Pennsylvania, presented the first major examination of Esherick’s work and artistic development in over 50 years.
Leah Stein Dance Company conducted on a year of research and training with electronic music pioneer Pauline Oliveros, who coined the practice of “Deep Listening.”
In the third iteration of the Center’s danceworkbook series, Dr. Linda Caruso Haviland introduces three performed lectures by Foster.
Classically trained on the harp since age 11, Mary Lattimore (Pew Fellow, 2014) incorporates experimental techniques and technologies into her music, thereby extending the conventions of her instrument.
David Sheingold is an independent consultant providing project development, strategic planning, and fundraising services for arts organizations and artists.
Judith E. Stein is a writer, curator, and a 1994 Pew Fellow.