David Gordon (choreographer)

Source: Wikipedia, the free encyclopedia.

For other people with the same name, see David Gordon (disambiguation).
David Gordon
musical theater
Notable work(see article)
MovementJudson Dance Theater
Spouse(s)Valda Setterfield
(January 28, 1961 - January 29, 2022, his death)
ChildrenAin Gordon
Awards(see below)
WebsiteDavid Gordon Archiveography

David Gordon (July 14, 1936 – January 29, 2022) was an American dancer, choreographer,

Alive TV, and the BBC and Channel 4
in Great Britain.

Twice a

Guggenheim Fellow (1981 and 1987), Gordon has been a panelist of the dance program panels of the National Endowment for the Arts and the New York State Council on the Arts, and chairman of the former.[1] He was a member of the Actors Studio
, and was a founder of the Center for Creative Research.

Gordon was married to

muse".[2] Together, they have been called "The Barrymores of postmodern dance."[3] Their son, playwright, actor, and theatrical director Ain Gordon
, has collaborated with Gordon on a number of projects.

Gordon's work has been archived in the New York Public Library for the Performing Arts at Lincoln Center. Gordon also created a digital archive called Archiveography which covers both his personal and professional lives.[4][3]

Style and process

Like most postmodernists in dance, Gordon employs pedestrian movement in his work,[5][notes 1] but he was notable for his frequent use of spoken dialogue, even in "dance" pieces, as well as his Brechtian rejection of illusion coupled with an interest in theatricality.[notes 2] He was quoted as saying "I [want] to use mundane means to a magical end."[1] A contrarian by nature, Gordon creates works which are founded on structural clarity, which he then undercuts: "I always find some way to screw up a fabulously straightforward structure," Gordon has said, "I can't seem to avoid that."[6]

Another of Gordon's hallmarks is his fondness for recycling previously used materials, both choreographic and physical.[5] According to critic Arlene Croce: "Gordon is a collagist. Many of his dances and set pieces ... can be lifted out of context and combined with new material to make a new impression."[7] This is particularly true with his use of gestures, which when seen in one context can appear meaningless or arbitrary, but which will pick up meaning and appear as deliberate when, for instance, accompanied by music or text.[6] According to Gordon:

Movement is ambiguous until you place it against some background. ... I use a great many repetitions with variations to make the ambiguities of movement apparent. Exploring the alternate possible meanings of gesture is one of my major concerns.[6]

Gordon's pieces frequently reference films and other aspects of popular culture,[8] and are often autobiographical, or at least apparently so, with the distinction between true facts and fictionalized autobiography deliberately obscured.[9] His pieces often employ humor, sometimes in self-deprecation,[10] and he has been called one of the few "comic spirits" produced by the postmodern dance movement.[1]

Gordon was very aware of the people who performed his works, and frequently tailored the pieces to the specific abilities of the dancers they were constructed on. He said "Dances may be glorious reverberating abstractions or eloquent high-class dance storytelling or thoughtful, emotion-provoking nonlinear narratives, but dancing, no matter what, always seems to be about the people who do it."[11]

Later in life, Gordon was to say "I take on projects I don’t know how to do, and I relish the dangerous journey."[3]

Early life and career

Gordon, a native of New York City, was born on July 14, 1936, to Samuel and Rose (Wunderlich) Gordon, both of whose parents were Jewish immigrants from Eastern Europe.

Seward Park High School.[12][11] Growing up, he saw movies in neighborhood theaters and vaudeville shows uptown and watched television, and these influences – such as Milton Berle on TV and Fanny Brice singing "Second Hand Rose" – later informed his first dance pieces.[3]

After high school, he received a BFA from Brooklyn College,[12] where he first studied English and then switched to art under painter Ad Reinhardt,[1][13] took voice lessons to get rid of his Yiddish accent,[3] and joined the modern dance club,[5] and, at the insistence of a friend, auditioned for and got the lead role of the witch boy in the college's production of Dark of the Moon.[notes 3]

Out of college, Gordon got a job dressing the windows at "Azuma" in Greenwich Village, which sold products from Japan. He was to hold this job, which expanded to dressing all the windows in the Azuma chain, well into his dance career, until he made the decision to attempt to make a living as a dancer/choreographer.[3][13]

A chance meeting in

Laurel & Hardy and W. C. Fields, all of which influenced Gordon's later works.[3] He was to perform with Waring's company through 1962.[11] Later in life, Gordon was to curate an exhibition about Waring at the New York Public Library for the Performing Arts.[13]

Gordon and Setterfield were married on January 28, 1961,[15] and remained so until his death.

Gordon studied with Merce Cunningham and

Living Theatre and the Paula Cooper Gallery, among other downtown venues. He also participated in the "First New York Theater Rally," organized by Steve Paxton and Alan Solomon.[notes 4][17]

Gordon's early works included:

Gordon and Setterfield were described during this period as "amiable saboteurs ... [with] the stylistic skill of old music-hall comedians ... [and] a wickedly perceptive wit."[18]

In 1966, vociferously negative audience response to his solo piece Walks and Digressions – Gordon wrote that "[t]he audience booed, hissed, clapped, stamped their feet, and walked out across the performance space while I was working"[19] – caused him to stop making dances for five years.

The review was devastating, and I wasn't clever enough to understand or use the possible notoriety attached to that performance (after all, obviously no one was bored) in a positive career move. I had discovered that publicly performing my own work placed me in an exceedingly vulnerable position emotionally and physically, and I wanted none of it. I believe now that I was basically uncommitted to my work and unable to take responsibility publicly for my decisions. I had worked mainly for the positive response of my peers and of an audience, not gearing my work towards that response but expecting it as the dividends of having worked. When the audience and my peers turned on me, I picked up my marbles and went home. I just decided to stop making work.[19]

He continued to perform as a member of Yvonne Rainer's company[5] and, from 1970 to 1976,[1][20] as a founding member of the improvisational dance group, The Grand Union, which evolved out of Rainer's company and included Rainer, Trisha Brown, Barbara Dilley, Douglas Dunn, Nancy Lewis and Steve Paxton, among others.[notes 8] Gordon was later to say about his work with the Grand Union: "It’s about being perverse. I want to do what you don’t expect me to do. I want to do what I don’t expect me to do. I also can’t tell if you’re having a good time unless I can make you laugh."[3]

Gordon credits all of these early experiences with laying the groundwork for his artistic process:

Jimmy [Waring] was an education for me, as he was for most people who came in contact with him. ... [He] taught me about art and developed my taste, but I didn't begin to understand about making work until later with Yvonne Rainer. From her I found out what it is to be an artist – a person who makes choices and stands behind them. Then, from working with Trisha Brown in the Grand Union, I learned how to edit, how to boil a thing down to its essence. Jimmy's approach was much more whimsical. His way of working led you – or led me at any rate – to accept any idea as valid simply because I'd thought of it. I thought of it and I kept it, and what came next was what I thought of next. I don't believe Jimmy meant to absolve me of all responsibility for my work, but I got the impression that wild intuitive guessing was all I had to do to make art. I never threw anything away. I remember distinctly Jimmy's saying, "If you don't like it now, you can get to like it. If you can't get to like it, who says you have to like it?" The point of it was to demystify art and free the artist from the limitations of his own taste. There was a great sense of liberation that stemmed from John Cage's championing of this philosophy, and Jimmy, among others, was establishing alternatives to the kind of teaching that had dominated modern-dance composition up until then.[1]

In 1971 Gordon returned to making dances when Rainer put him in charge of her classes while she went to India, from which came the material which became Sleepwalking,[5] first performed at Oberlin College and then in New York. Gordon formed the Pick Up Performance Company that year – incorporated in 1978 as a non-profit organization – to support and administer his work in live performance and media. His work during this period[21] included:

  • The Matter (1972) – which utilized volunteer non-dancers who had signed up at a Grand Union concert to participate in Gordon's next project.[22] The piece was re-mounted in 1979, with additions and subtractions, as The Matter (Plus and Minus), and was later the inspiration for The Matter/2012: Art and Archive, performed at Danspace Project at St. Mark's Church in-the-Bowery, as well as The Matter at MoMA / 2018, performed at the Museum of Modern Art as part of the retrospective exhibition Judson Dance Theater: The Work is Never Done.[23]
  • Times Four (1975),
  • Personal Inventory (1976) – in which Gordon and Setterfield each had to improvise 500 different movements, counting them as they went,
  • Wordsworth and the Motor (1977),
  • Not Necessarily Recognizable Objectives (1977) – for which Gordon won the first SoHo Weekly News Soho Arts Award in Avant-Garde Dance,
  • What Happened (1978),
  • An Audience With the Pope (or This Is Where I Came In) (1979)

and the seminal Chair (1974), a duet for Gordon and Setterfield in which they perform with metal folding chairs,[1] the use of which became a signature of his work.[24] Critic Deborah Jowitt wrote of his works during this period that "process and polish were linked in pretty paradoxes."[25]

By this time Gordon and Setterfield had developed a reputation as "the dance world's most intriguing couple. Ideal mates, ideal opposites, yin and yang, male and female, total communication."

gaffers tape
, as well as commercially produced items such as clothing racks and rolling ladders.

Gordon's hand-made score for One Part of The Matter – an excerpt from The Matter for solo dancer (Setterfield) – which consisted of cut-outs of poses culled from photographs by Eadweard Muybridge taped to sheets of paper, is in the drawings collection of the Museum of Modern Art in New York.[26] The score came about because Setterfield was on tour with the Cunningham company, and Gordon sent her the poses so she could memorize them in her hotel room. When she returned, they worked together on the transitions between the poses.[20] Since then, Setterfield has performed One Part of the Matter in many venues around the world.

1980s

In 1980, Gordon gave up his job creating window displays,[27] which for 18 years had supported both his work and his family – his son Ain was born in 1962 – to work full-time as a performer and choreographer.[1][28] He also appeared in two seminal documentaries about postmodern dance, Beyond the Mainstream: The Postmoderns, part of the PBS Dance in America series, and Michael Blackwood's Making Dances, which focused on seven choreographers: Brown, Lucinda Childs, Gordon, Douglas Dunn, Kenneth King, Meredith Monk and Sara Rudner.[29][30]

In the 1980s, his Pick-Up Company toured throughout the United States, performing both intimate pieces such as:

  • Close Up (1979) – a duet for Gordon and Setterfield – and
  • Dorothy and Eileen (1980), in which two female dancers improvize dialogue about their mothers[1] – which has been called "[o]ne of his most successfully conceived and rendered pieces";[9]

as well as larger-scale works, including:

  • T.V. Reel (1982),
  • Trying Times (1982) – which ends with Gordon being put on trial by his dancers;[7] this piece and Framework which followed it feature "visual devices" – such as open wooden frames, canvas cloths painted with diagonal stripes, and painted Masonite boards, as well as a double-hinged construction of wood-framed heavy cardboard panels which was manipulated by the dancers into numerous different patterns which they then interacted with – by artist Power Boothe, some of which will also later be used in Dancing Henry V.
  • Framework (1983),
  • My Folks (1984) – set to
    klezmer music
    ,
  • Four Men Nine Lives (1985),
  • Transparent Means for Traveling Light (1986) – performed to a score by John Cage,

and the mammoth United States (1988–1989), which was co-commissioned by 26 presenters in 16 states[31] and has so many sections which exist in different but related versions that they have never all been performed together. Many of Gordon's pieces from this period had their premiere at David White's Dance Theater Workshop.

Gordon also made work for other companies during this time, including:

  • Grote Ogen ("Big Eyes") for Wekcentrum Dans in the Netherlands (1981),
  • Pas et Par for Theatre du Silence in Lyons (1981),
  • Counter Revolution (1981), Field Study (1984) and Bach and Offenbach (1986) for London's Extemporary Dance Theatre,
  • Piano Movers to music by Thelonious Monk for Dance Theatre of Harlem (1984),[32]
  • Beethoven and Boothe (1985) for Group Recherche Choreographique de l'Opera de Paris, and
  • Mates for Rambert Dance Company (1988).

He also made

Dance in America series. Gordon received a Primetime Emmy Award
for the program.

For the

Renard, a one-act chamber opera-ballet by Igor Stravinsky, for the Spoleto Festival USA in 1986.[33]

1990s

The Mysteries and What's So Funny? (1991), in which

Bessie and an Obie Award. It was written, directed and choreographed by Gordon with music again by Philip Glass and visual design by Red Grooms. The script was published in Grove New American Theater.[34] Gordon then collaborated with his son, playwright Ain Gordon, on The Family Business, which premiered at Dance Theater Workshop in New York City in February 1994, received an Obie Award, and was presented at New York Theatre Workshop and at the Mark Taper Forum
in Los Angeles in 1995. The cast for The Family Business consisted of both Gordons, father and son, and Setterfield.

In 1994, for the

National Yiddish Theatre Folksbiene.[35]

In 1993 Gordon received a National Theatre Artist Residency Grant, funded by the

The Firebugs by Max Frisch for their mainstage in 1995. He also received a 1996 Pew National Dance Residency Artist Grant, administered by the New York Foundation for the Arts, becoming the only artist to receive residency grants from Pew in both theater and dance.[36]

Ain and David Gordon collaborated again on the book and direction for Punch & Judy Get Divorced, with music by

Carl Stalling, for Baryshnikov's White Oak Dance Project in 1992. In 1999, the Gordons worked together once more, this time on a musical about women directors in the early days of motion pictures, The First Picture Show, with music by Jeanine Tesori
, for ACT in San Francisco and the Mark Taper Forum in Los Angeles.

2000s–2020s

Other productions Gordon has created as writer, director and choreographer include Autobiography of a Liar (1999), [email protected] (2001) – for which he received his third Bessie Award[37] – and Private Lives of Dancers (2002), all originally presented at Danspace in New York. In 2000, he was commissioned by ACT to write an adaptation of Kenneth Grahame's The Wind in the Willows, with music by Gina Leishman, called Some Kind of Wind in the Willows. This production was workshopped but was never produced.[38] In that same year, he assembled and directed for Baryshnikov's White Oak Project a retrospective program of postmodern dance, PAST/Forward, which included pieces by Gordon, Simone Forti, Steve Paxton, Deborah Hay, Yvonne Rainer, Lucinda Childs and Trisha Brown.[39][notes 10]

In 2004, Gordon made

University of Albany
, New York.

Gordon has also adapted, directed and choreographed a number of classic theater works:

Gordon mounted in October 2012 for Danspace Project The Matter/2012: Art and Archive, based on his early work The Matter (1972–1979), and including versions of Mannequin (1962) and Chair (1974). The piece was part of the series Platform 2012: Judson Now, connected to the celebration of the 50th anniversary of the first Judson Dance Theater performances,[44] and was called by The New York Times "a breathtaking evening of dance that pays homage to his early days."[45]

In April 2013, Gordon was named as one of twenty artists who received a Doris Duke Artist Award from the

Doris Duke Charitable Foundation, an unrestricted multi-year award of $225,000 plus additional amounts for audience development and "personal reserves or creative exploration during what are commonly retirement years for most Americans".[46]

Gordon's archives were accepted in 2016 for donation by the Jerome Robbins Dance Collection of the

Lumberyard.[53]

In 2018, the Museum of Modern Art in New York City mounted a retrospective exhibition, Judson Dance Theater: The Work Is Never Done, which included another version of The Matter, called The Matter at MoMA / 2018.[23][54][notes 11] Two years later, Gordon took The Matter into a new medium with the release of The Philadelphia Matter - 1972/2020, a video performance by a "virtual dance company" of Philadelphia performers doing "Song & Dance", "Close Up" and "Chair", which were transformed and edited by Gordon and video artist Jorge Cosineau as part of the Philadelphia Fringe Festival.[55] The video was selected by The New York Times as one of the best in dance in 2020.[56]

On July 14, 2021, Peak Performances released The New Adventures of Old David (What Happened 1978–2021), a video piece written, choreographed and directed by Gordon, which he based on his 1978 piece "What Happened". New performances recorded at Montclair State University's Alexander Kasser Theater were combined by Gordon and editor Daniel Madoff with archival footage and newly shot sections of Gordon, his wife Valda Setterfield, and their long-time stage manager explaining how What Happened happened.[57]

Near the end of his life, Gordon returned to the visual arts he had originally studied in college, and made digital collages on the computer, commenting that "The computer is my enda life rectangle."[3][58]

Death

Gordon died in his loft studio home – located in

SoHo in lower Manhattan, New York City – on January 29, 2022, at the age of 85.[3][11] He and Setterfield had celebrated their 61st wedding anniversary the night before.[11]

Reception

Gordon's work has been generally well received by the critics and the public, although his piece Field, Chair and Mountain for American Ballet Theatre, his first ballet, was reportedly booed at its premiere at the

Kennedy Center Opera House in Washington, D.C. in 1985.[59][60] The critical response was more generous, calling it "remarkable",[61] "irreverent and clever",[62] "a mesmerizing exploration of partnering",[63] and "one of the most beautiful and distinctive [ballets] in ABT's current repertory",[64] and praising Gordon's "deadpan humor and ... obvious nostalgic affection for things romantic",[65] and his "energy and wit".[66] However, Arlene Croce in The New Yorker said that the ballet was "the kind of folly that advances to the limit of frivolity on the strength of passion,"[67] and in The New York Times, Anna Kisselgoff wrote that "Despite [its] original aspects, "Field, Chair and Mountain" does not add up to anything beyond its isolated parts. Mr. Gordon's ideas seem dressed up in opera-house trappings that hang like ill-fitting clothes".[68]

Twenty years later, Gordon, who had not previously considered himself to be a political artist, created Dancing Henry Five in response to the

Lincoln Center.[70] Other critics praised its "humor and deft movement",[71] its "masterful blend of charm and sting",[69] and called it "stunning and provocative",[72] while describing the movement in the dance-theater piece as "stripped down and democratic".[73] "It takes a witty craftsman of dance theater like Gordon to turn a heroically jingoistic play into a wry but fervent plea for peace",[74] wrote one critic about the most recent revival of the piece, while another wrote that "The means are simple, the dancing far from virtuoso; the thought and meanings are complex."[75]

However, several years prior to the success of Dancing Henry Five, Gordon collaborated with Ain Gordon and composer Jeanine Tesori on the stage musical The First Picture Show, about female directors in the early days of the movie business, which starred Estelle Parsons and Ellen Greene. The piece was extensively workshopped and performed in San Francisco, at the American Conservatory Theater, and in Los Angeles at the Mark Taper Forum, which had commissioned the piece. After the success of Shlemiel the First in L.A. several years before, expectations were high for the new musical, but the critical reception was not overly positive – the critic for the Los Angeles Times wrote: "This tantalizing if unformed project has too vital a subject, or subjects, for mere nostalgia. Occasionally wonderful and never dull, 'The First Picture Show' lacks a certain urgency in its storytelling."[76] – and the production had no commercial transfer after its subscription run. Some years later, in response to a question about whether his career had ever "hit the wall", Gordon said: "I died in L.A.", but acknowledges that he then "came back to New York and began again, choreographing for my own company."[77] One of the results of starting over was Dancing Henry Five.

Analysis and interpretation

Throughout his career, critics and other dance artists have encapsulated Gordon and his work:

Awards and honors

See also

References

Informational notes

  1. Village Voice
  2. ^ Banes, Sally:

    In the debate on theatricality among post-Cunningham choreographers, Gordon stands in favor of spectacle. But he uses spectacular moments and glamorous touches cunningly, often intensifying them until a gap between the movement relationships and their extravagant theatrical overlay throws the movement into high relief.

    Banes, Sally (May 1, 1978) "David Gordon, or, The Ambiguities" Village Voice
  3. ^ Gordon:

    [A]s a fine arts major in college, I followed an exceedingly attractive young woman wearing peculiar earrings with live guppies in them to what turned out to be the Modern Dance Club. Being six feet tall and male, I was immediately put into a performance. At the same time I met another young woman from the Theatre Department who got me to go to an audition for Dark of the Moon. Two young men were vying vehemently for the role of the witch boy when I walked in, and the director said to me, "Hey you at the back of the room. Come up here and read." I amazed myself by performing with something resembling a southern accent, and immediately got the part.

    Gordon, David (January 1983) Remarks made during the "Collaboration: Investigating New Forms" session at the Theatre Communications Group National Conference in June 1982. Published in "TCG Focus: Combining Forces" in Theatre Communications
  4. ^ Gordon was in the first group to perform Rainer's seminal piece Trio A, along with Rainer and Paxton. Rainer says that Gordon was doubtful at first about his ability to execute it in the proper style.

    Now I say anyone can master the style, or just about anyone.

    Rainer, Yvonne (2000) "Statement for PAST/Forward" in Banes (2003), p.210
  5. ^ According to Banes, during the performance of Mannequin Dance, choreographer James Waring provided sound accompaniment – billed as "Music" (see Program from "A Concert of Dance" at Judson Church (July 6, 1962) Archived December 20, 2016, at the Wayback Machine) – by handing out balloons to the audience and requesting that they be blown up, and then have their air slowly released. Banes (2003), p.50
  6. ^ Sally Banes writes about Random Breakfast that it

    parodied the 'Judson Church Dance Factory Gold Rush in which choreography ran rampant' ... Prefabricated Dance, the commentary on Gordon;s own choreographer colleagues, involved improvised instructions on how to make a modern dance.

    Banes (2003), pp. 13-14
  7. ^ Silver Pieces (Fragments) was performed under two different names, "Fragments" in Philadelphia and "Silver Pieces" at the Judson Church. The evening-long piece was created from odds and ends of unfinished and abandoned solos and duets for Gordon and Setterfield, tied together with the visual device of a television set, but with no other thematic connection between the constituent parts. In 1981, Gordon wrote that for the New York performance:

    I used my home television set sprayed silver. Valda and I wore tights and leotards sprayed silver and plastic child wigs (like swimming caps) sprayed silver ... [Critic] Don McDonagh said in The Rise and Fall and Rise of Modern Dance that the dance "...was a choreographic look at the ruins of humanity in some horribly projected future." So much for the intention of the artist, or the lack of it.

    Gordon, David. "Fragments" in Perron, Wendy and Cameron, Daniel J. (eds.) (1981) Judson Dance Theater: 1962-1966 (exhibition catalogue) Bennington, Vermont: The Bennington College Judson Project.
  8. ^ Gordon:

    I spent about six years in a company called The Grand Union, which was composed of six to nine artists. All performances, which generally lasted about two hours, were totally improvised. We didn't always know how many of us would be there or what we would be looking like, or who would leave halfway through.

    Gordon, David (January 1983) Remarks made during the "Collaboration: Investigating New Forms" session at the Theatre Communications Group National Conference in June 1982. Published in "TCG Focus: Combining Forces" in Theatre Communications
  9. ^ According to Alvin Klein, writing in The New York Times:

    "Shlemiel" is choreographed and directed by Mr. Gordon who, it appears, regards its eight musicians (the Klezmer Conservatory Band) as cast members in an interweaving of music and moving stage pictures, of words, spoken and sung. It can be said that Singer is the original author, Mr. Brustein is the adapter and Mr. Gordon is the auteur.

    Klein, Alvin (April 9, 1995) "Theater: 'Shlemiel' Continues A Path to Broadway" Archived November 30, 2016, at the Wayback Machine The New York Times
  10. ^ In his statement for the program of PAST/Forward, Gordon thanks Baryshnikov, "who keeps giving me jobs I don't know how to do." Banes (2003), pp.202-03
  11. ^ Choreographer Pam Tanowitz was one of the performers in the MoMA project. In a 2022 interview, she commented that Gordon was one of her mentors, and that performing his Mannequin Dance while Gordon sang Fanny Brice's "Second Hand Rose" with a Yiddish accent was "the same as going to temple" for her. She "didn't know whether to laugh or cry".

    Schaefer, Bruce (June 28, 2022) "Pam Tanowitz’s Next Act: ‘I Need to Make a Jewish Dance’" Archived June 28, 2022, at the Wayback Machine The New York Times

Citations

  1. ^ a b c d e f g h i j k l Croce, Arlene (November 29, 1982) "Profiles: Making Work". The New Yorker
  2. ^ Friedman, Lisa (August 1986) "David Gordon: A Cult Choreographer Takes Center Stage". Dial
  3. ^ a b c d e f g h i j k l m Perron, Wendy (February 2, 2022) "Remembering David Gordon (1936–2022)" Archived February 3, 2022, at the Wayback Machine Dance Magazine
  4. ^ "Archiveography website". Archived from the original on January 8, 2017. Retrieved November 30, 2016.
  5. ^
    Dancemagazine
  6. ^ a b c Carroll, Noël (December 6, 1979) "Frieze Frame" SoHo Weekly News
  7. ^ a b Croce, Arlene (June 18, 1984) "Dancing: Life Studies" The New Yorker
  8. ^
    ISBN 0-19-860106-9
  9. ^
    Dancemagazine
  10. ^ Reiter, Susan (May 1985) "Man in Demand" Ballet News
  11. ^ a b c d e f g h Kourlas, Gia (February 4, 2022) "David Gordon, a Wizard of Movement and Words, Dies at 85" Archived February 5, 2022, at the Wayback Machine The New York Times
  12. ^ a b Banes, Sally (May 1, 1978) "David Gordon, or, The Ambiguities" Village Voice
  13. ^ a b c Gordon, David "Archiveography" website Archived January 31, 2016, at the Wayback Machine
  14. ^ a b Robertson, Allen (Autumn 1985) "Valda Setterfield - The early years" Dance Theatre Journal Vaughan and Setterfield have remained good friends, and he appeared via photograph as
    the Pope in Gordon's An Audience with the Pope, as well as in Ain Gordon's Art, Life & Show Biz, again by image only. Vaughan had a long career as a dancer, choreographer, actor, singer and, notably, the long-time archivist for the Merce Cunningham Dance Company He was also a prolific dance writer and a scholar on the work of Frederick Ashton
    .
  15. ^ "'60s ARCHIVEOGRAPHY - Part 1"[permanent dead link] Archiveography website
  16. ^ Banes, Sally. "Earthly Bodies: Judson Dance Theater" in Perron, Wendy and Cameron, Daniel J. (eds.) (1981) Judson Dance Theater: 1962-1966 (exhibition catalogue) Bennington, Vermont: The Bennington College Judson Project
  17. ^ McDonagh (1971) p.272
  18. ^ McDonagh (1971), pp.279-281
  19. ^
    The Drama Review
    v.19 n.1
  20. ^ a b Banes, Sally (Winter 1977) "An Interview with David Gordon" Eddy: About Dance
  21. ^ see "About David Gordon: Resume" Archived September 27, 2011, at the Wayback Machine on choreographer Margaret Jenkins's website for a list of productions
  22. The Drama Review
    v.16 n.3
  23. ^ a b c Macaulay, Alastair (October 19, 2018) "At MoMA, Judson Dance Looks Back With Anger and Toughness" Archived October 23, 2018, at the Wayback Machine The New York Times
  24. ^ a b c Copeland, Roger (Autumn/Winter 1996) "The Double Identity of David Gordon" Dance Theatre Journal v. 13 n.2
  25. ISBN 0-520-06627-8
    . p.336
  26. ^ Museum of Modern Art, Department of Drawings (c. 1971–1972) "Painters for the Theater, Drawings Gallery, July 14-October 18, 1989, Checklist" Four pages of Gordon's score were part of this exhibition, ascension numbers 127.84.a–d "Untitled study for the performance THE MATTER, performed by the Merce Cunningham Company, Oberlin College, Ohio and New York, 1972"
  27. S. Klein On The Square, Saks Fifth Avenue and Best & Co.
    , and for many years did the windows of the Japanese-based Azuma chain of retail stores in New York.
  28. ^ Gordon also did other work in the visual arts. His life-sizes collages made from torn colored no-seam paper were used as backgrounds for photographs of scientists in a Life magazine spread, which was later published in Modell, Walter; Lansing, Alfred and the editors of Life (1967) "When Natural Defenses Fail" in Life Science Library: Drugs. New York: Time-Life Books, pp.102-119 except p.117.
  29. ^ Croce, Arlene (June 30, 1980) "Dancing: Slowly Then the History of Them Comes Out". The New Yorker
  30. ^ "Making Dances" Archived March 30, 2012, at the Wayback Machine on the Michael Blackwood Productions website
  31. ^ Stamler, Gayle (October 1988) "'United States' comes together" in ACUCAA Bulletin
  32. ^ a b Croce, Arlene (July 8, 1985) "Dancing: Opus Posthumous". The New Yorker
  33. ^ Staff (2021) "Program History" Archived April 2, 2023, at the Wayback Machine p.108 Spoleto Festival USA
  34. ISBN 0-8021-3278-2
  35. ^ Cox, Gordon (August 10, 2011) "TFANA sets 2011-12 season" Archived November 8, 2012, at the Wayback Machine. Variety
  36. Showbill
  37. ^ a b Kourlas, Gia (January 6, 2002) "Rehearsing for Dance And for Life". The New York Times
  38. ^ "Some Kind of Wind in the Willows" Archived October 5, 2011, at the Wayback Machine on GinaLeishman.com
  39. ^ Houston, Lynn (September 2001) "Bodies of History and Historical Bodies: Baryshnikov and the Judson Legacy: White Oak at Gammage Auditorium, Tempe, Arizona, October 15, 2000" in PAJ: A Journal of Performance and Art (Volume 23, Number 3), pp. 13-19, abstract Archived September 14, 2012, at the Wayback Machine
  40. ^ "FY 2010 Grant Awards: American Masterpieces: Dance" Archived October 12, 2011, at the Wayback Machine on the National Endowment for the Arts website
  41. ^ Demetre, Jim (November 12, 2004) "A fresh arrangement of 'The Chairs'" Archived April 23, 2023, at the Wayback Machine Seattle Post-Intelligencer
  42. New York Sun
  43. ^ La Rocco, Claudia (June 7, 2012) "Art, Life and Death, Inexplicably Intertwined" Archived November 30, 2016, at the Wayback Machine, The New York Times
  44. ^ "The Matter/2012" Archived October 21, 2012, at the Wayback Machine on the Danspace Project website
  45. ^ Kourlas, Gia (October 27, 2012) "The Old Is New Again, as the Muse Endures" Archived January 8, 2017, at the Wayback Machine The New York Times
  46. ^ a b ""The 2013 Class of Doris Duke Artists Announced"" (PDF). Archived (PDF) from the original on May 14, 2013. Retrieved April 30, 2013.
  47. ^ Staff (January 7, 2016) "David Gordon donates archive and collaborates with The New York Public Library for the Performing Arts in an exploration of artist annotated collection methodology; Process gleans new performance works" (press release) Archived January 20, 2016, at the Wayback Machine New York Public Library
  48. ^ Cooper, Michael (January 7, 2016) "ArtsBeat: The Choreographer-Director David Gordon's Archive to Go to Public Library" Archived January 13, 2016, at the Wayback Machine The New York Times
  49. ^ "David Gordon: Archiveography - Under Construction" Archived November 4, 2016, at the Wayback Machine New York Public Library
  50. ^ Kourlas, Gina (January 3, 2017) "A Choreographer's Life, Unfurled in a Flurry of Fragments" Archived October 23, 2018, at the Wayback Machine The New York Times
  51. ^ ""Archiveography: Under Construction"". Archived from the original on January 8, 2017. Retrieved November 29, 2016.
  52. ^ Ulrich, Allan (April 21, 2017) "'Live Archiveography' a tour of David Gordon's career in dance" Archived November 12, 2020, at the Wayback Machine San Francisco Chronicle
  53. ^ Macaulay, Alastair (June 2, 2017) "Review: In David Gordon's Life and Art, the Past Is the Present" Archived October 23, 2018, at the Wayback Machine The New York Times
  54. ^ Kourlas, Gia (September 20, 2018) "Review: MoMA Puts Judson Dance on Display and, Better Yet, in Motion" Archived October 23, 2018, at the Wayback Machine The New York Times
  55. ^ Kourlas, Gia (September 8, 2020) "David Gordon Digs Into His Archives for a Dance That Matters" Archived April 23, 2023, at the Wayback Machine The New York Times
  56. ^ Kourlas, Gia; Seibert, Brian; and Burke, Siobhan (December 1, 2020) "Best Dance of 2020: Best thing to come out of working from home" Archived February 4, 2021, at the Wayback Machine The New York Times
  57. ^ "The New Adventures of Old David: What Happened 1978-2021" Archived August 25, 2021, at the Wayback Machine Peak Performances
  58. ^ "Digital Collage Work" Archived February 6, 2022, at the Wayback Machine Archiveography
  59. ^ Levy, Suzanne (c.January 1985) "ABT's Vandalized 'Chair'" The Washington Post
  60. ^ Hanna. William John (January 5, 1985) "It Was I" (Letter to the editor). The Washington Post
  61. ^ Zakariasen, Bill (May 13, 1985) "Remarkable debut show from ABT" New York Daily News
  62. ^ Tobias, Tobi (May 13, 1985) "The Best and the Brightest" New York
  63. ^ Duffy, Martha (February 25, 1985) "Smiles of a Winter Night" Time
  64. ^ Shapiro, Laura (February 25, 1985) "The Turning Point" Newsweek
  65. ^ Horn, Laurie (January 24, 1985) "ABT opens season with humor, romance". Miami Herald
  66. ^ Bernheimer, Martin (March 7, 1985) "Dancing with Stars, Smirks and Chairs". Los Angeles Times
  67. ^ Croce, Arlene (January 28, 1985) "Dancing: Experiments" The New Yorker
  68. ^ Kisselgoff, Anna (April 29, 1985) "Ballet Theater: A New Work by David Gordon" The New York Times
  69. ^ a b Kaufman, Sarah (May 14, 2007) "Positions of Power" The Washington Post
  70. ^ Rockwell, John (January 16, 2004) "Reverberations: Three Shakespeares, Each With a Purpose, Each Hoping to Thrill" Archived November 23, 2018, at the Wayback Machine The New York Times
  71. ^ La Rocco, Claudia (January 12, 2004) "David Gordon Takes on Shakespeare" in 'Dancing Henry Five'" Associated Press
  72. ^ Jowitt, Deborah (January 14, 2000 "O For A Muse of Fire" Village Voice)
  73. ^ Howard, Rachel (May 19, 2007) "'Dancing Henry Five' puts the Bard's king in spare milieu touching on current events" San Francisco Chronicle
  74. ^ Jowitt, Deborah (October 9, 2011) "But if the cause be not good..." Archived June 28, 2012, at the Wayback Machine DanceBeat
  75. ^ Macauley, Alastair (October 7, 2011) "Ships, Steeds and Kings, on Two Legs" Archived November 29, 2016, at the Wayback Machine The New York Times
  76. ^ Phillips, Michael (August 13, 1999) "When Silent Was Golden" Archived November 30, 2016, at the Wayback Machine Los Angeles Times
  77. Time Out New York
  78. ^ Carroll, Noël (October 12, 1978) "Formal Dancing" SoHo Weekly News
  79. Walker Arts Center
  80. ^ Robertson, Allen (March 1982) "Clever Cookie" Ballet News
  81. ^ Krigsman, Sali Ann (1982) "Program Notes" from performances of T.V. Reel, Close Up, Double Identity and Dorothy & Eileen at the Baird Auditorium Archived November 30, 2016, at the Wayback Machine, National Museum of Natural History, Washington, D.C., November 1–2, 1982 Smithsonian Institution
  82. The Nation
  83. ^ a b Stahl, Jennifer (September 9, 2019) "Meet the 2019 Dance Magazine Award Honorees" Archived September 29, 2019, at the Wayback Machine Dance Magazine
  84. ^ Staff (June 15, 1978) "Winners of the First Annual Soho Arts Awards" SoHo Weekly News
  85. ^ Smith, Nancy Stark (Winter 1979) "David Gordon & Valda Setterfield Talk about Labels, Madmen, Vanity and more". Contact Quarterly v.4 n.2
  86. ^ a b c Complete List of Bessie winners Archived July 19, 2011, at the Wayback Machine
  87. ^ a b Obies search Archived May 30, 2013, at the Wayback Machine
  88. ^ Roca, Octavio (December 29, 1966) "Jenkins, Tomasson Win $100,000 Dance Grants" Archived July 1, 2012, at archive.today San Francisco Chronicle

Bibliography

Further reading

External links
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