TABLE OF CONTENTS

Deborah Hay

WHEN CHOREOGRAPHER and teacher Robert Dunn proposed an assignment to the dancers who became the Judson Dance Theater (of which I was one)—and because all I knew at the time was how to be a good student—I dutifully completed it, whereas I never understood how Yvonne Rainer’s or Steve Paxton’s responses had anything at all to do with Dunn’s assignment. They were more interested in breaking or challenging instructions and direction, and perhaps, more importantly, they were exploring their own aesthetics. I did not know aesthetics from a hole in the head.

Yvonne’s dances were very different from one another, yet colored by a distinctly playful authority. I especially remember Three Seascapes (1962) because of its shock value, and We Shall Run (1963) because of its Olympian opening: many people running en masse to an operatic music score . . . maybe something by Berlioz?

I was mostly

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the September 2018 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.