Soft is fast: Simone Forti in the 1960s and after PDF
Preview Soft is fast: Simone Forti in the 1960s and after
S O F T IS FAS T 10425.indb 1 11/17/15 4:17 PM 10425.indb 2 11/17/15 4:17 PM S O F T I S F A S T SIMONE FORTI IN THE 1960S AND AFTER MEREDITH MORSE The MIT Press Cambridge, Massachusetts London, England 10425.indb 3 11/17/15 4:17 PM © 2016 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. This book was set in Warnock Pro and Leitura Sans by the MIT Press. Printed and bound in the United States of America. Frontispiece: Simone Forti, close-up of page of letter to Anna Halprin, unpublished manuscript, c. 1960–1961. The Anna Hal- prin Papers, Museum of Performance + Design, San Francisco. Courtesy Museum of Performance + Design. © Simone Forti. Library of Congress Cataloging-in-Publication Data is available. ISBN: 978-0-262-03397-8 10 9 8 7 6 5 4 3 2 1 10425.indb 4 11/17/15 4:17 PM To Yuji Sone 10425.indb 5 11/17/15 4:17 PM 10425.indb 6 11/17/15 4:17 PM CONTENTS Acknowledgments ix Introduction 1 PART I THE 1960S 1 The Natural and the Neutral: Simone Forti, Ann Halprin, and Margaret H’Doubler 15 2 Simone Forti in New York: John Cage and Robert Whitman 37 3 Scale: Simone Forti’s Text Works in An Anthology of Chance Operations 63 4 The Dance Constructions, La Monte Young’s Performance, and Slow Time 81 5 The Problem of the Personal 103 PART II THE 1960S AND AFTER 6 Huddle: Inhabitation and Sociality 125 7 Disoriented Perception: Simone Forti in the 1970s and Process Art 149 8 News Animations and Improvisations: Movement-Feeling-Form 171 Epilogue: Performing Then as Now 191 Notes 199 Index 243 10425.indb 7 11/17/15 4:17 PM 10425.indb 8 11/17/15 4:17 PM ACKNOWLEDGEMENTS This book began as a doctoral thesis completed in 2012 in the University of Sydney’s ACKNOWLEDGEMENTS Department of Art History and Film Studies, through the Power Institute, Founda- tion for Art and Visual Culture. I am most grateful for the astute guidance and criti- cal insights of Laleen Jayamanne throughout that process, and since. She has been an invaluable sounding board for me, both professionally and personally. I have ACKNOWLEDGEMENTS benefited from her comments, and those of Susan Best, on sections of the material in this book. I am grateful to Diane Cole Ahl, Susan Best, John Clark, Charles Green, Ed Kerns, Robert S. Mattison, Mary Roberts, and Ann Stephen for their willingness to offer advice and provide support on a number of occasions, and, more generally, for their encouragement and generosity as senior colleagues in the field of art and art history. I thank Roger Benjamin of the Department of Art History and Film Studies, the University of Sydney; Norie Neumark, Theo van Leeuwen, and Ross Gibson; and John Potts and Macquarie University’s Scan: Journal of Media Arts Culture for opportunities to publish and speak on 1960s art in ways that have con- tributed to this book. I am grateful to a number of other art historians, curators, artists, facilita- tors, and other specialists for their assistance at key times in the development of this project: Fae Brauer, University of East London; Sabine Breitwieser, Museum der 10425.indb 9 11/17/15 4:17 PM
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