On the occasion of the exhibition Robert Rauschenberg: Erasing the Rules, and the performance program Limited Edition, Projects + Perspectives and Open Space invited artists Alex Escalante, Keith Hennessy, and Leyya Tawil to offer their thoughts on three iconic dance works included in the Rauschenberg show — and to link these works to three contemporary pieces. On P+P you’ll find Merce Cunningham’s Antic Meet, Trisha Brown’s Glacial Decoy, and Robert Rauschenberg’s Pelican, and on Open Space you’ll find robbinschilds’ Sonya and Layla Go Camping, Skywatchers’ I Got a Truth to Tell, and a collaboration between Mohamad Bayoumi, Michael Ibrahim, and Mohannad Ghawanmeh.
by Keith Hennessey
- James Hillman, Jungian, and archetypal psychologist, author of the essay “Senex and Puer,” and editor of Puer Papers (both 1979). Puer, as in puer aeternus, the eternal boy, a mythological figure and a psychological archetype for Hillman and other Jungians. Hillman's reading of the puer is more complicated and ambivalent than the pop psychological reading of Peter Pan Syndrome, referring to men who refuse to “grow up” and generally depend on women to hold their kite string.
- Black Mountain College: an experimental college founded near Asheville in 1933, recognized for pioneering interdisciplinary art experiments by Josef & Anni Albers, John Cage & Merce Cunningham, Robert Rauschenberg, Elaine de Kooning, and Buckminster Fuller, among many others.
Judson Dance Theater: a loose collective of “post-modern” dance and performance makers who staged a series of concerts in New York, 1962-64, initially inspired by the composition practices of Robert Dunn and John Cage among other cross-disciplinary influences of the early ’60s (experimental theater, happenings, installation, dance by non-dancers, antiwar activism, feminism...).