By Jill Johnston
The early paintings of a profoundly influential dance and cultural critic on hand now in an increased version.
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He has always lived and will continue to live. He made us and he was everything we made him. He was made long before and ahead of his time. We should be happy. October 10, 1968 Marmalade Me I thought to write last week on a bunch of poetry events I saw one afternoon, November 17, at Longview Country Club. About twenty-one two-minute events by poets, organized by Hannah Weiner. But the ivory tower has become the control tower as the naked ape speeds toward the moon. If the flight for the moon overshoots its mark the announcers will go off the air immediately, the families of the astronauts will be notified in person instantly, the President will simultaneously be informed and will then go on the air to advise the population of the disaster.
They were constructive pieces that were illuminating and interpretive. But her style gradually shifted. The earlier pieces on art and dance no longer seemed to satisfy Jill Johnston the artist. Mere evaluation and explication of artworks seemed a somewhat hollowif not an outright patronizing endeavor. So Johnston introduced, by her writings, a new vision for criticism without apology, and for criticism claiming its own identification in the world of artistic expressions. It is a vision of enormous scope and one that offers considerable potential.
Maybe he compares the shape to a memory of a footprint he once followed to the water's edge. Maybe he goes home and makes a lot of footprints around the campus just to go back and notice how he made them and how they look alike or different according to the texture and firmness of the ground. Maybe he examines the bottom of his foot to correlate the shape of the foot with the imprint he's making. Exhausting these possibilities he might really freak out on directional extensions. The campus begins to look like a study in advanced geometry.