A Controversial Critique of Dance Artistry

It landed with the force of a bombshell. In her provocative 1994 New Yorker essay titled “Discussing the Undiscussable,” esteemed dance critic Arlene Croce began with a striking declaration: “I have not seen Bill T. Jones’s ‘Still/Here’ and have no plans to review it.” This assertion set the stage for a contentious exploration of a work deeply intertwined with themes of mortality and the human experience.

“Still/Here,” a production inspired by individuals grappling with terminal illnesses, including AIDS—a cause close to Jones’s heart as he is H.I.V. positive—became the focal point of Croce’s fierce critique. In her essay, she vehemently opposed what she labeled as victim art, stating, “By incorporating dying individuals into his performance, Jones positions himself beyond the realm of critique. He embodies what I see as the most extreme example of many artists today who present themselves not merely as creators but as victims and martyrs.”

Jones’s groundbreaking work premiered in France before making its debut at the Brooklyn Academy of Music in 1994. The production stemmed from a series of survival workshops that Jones conducted with people facing life-threatening diseases, yet notably, there were no dying individuals onstage during the performance. Croce’s essay not only garnered significant attention for the dance piece and its creator but also ignited a larger discussion about the intersections of art, criticism, and societal issues.

For Jones, the impact of Croce’s essay was akin to having scalding water poured over him. “I don’t want to dwell on her,” reflected the 72-year-old artist in a recent interview. “However, she and I are forever entwined through this discourse. It’s a peculiar situation, don’t you think?”

As for Croce, now 90 years old, she was unavailable for comment. However, art critic Jed Perl, a close friend of Croce’s, noted that she has consistently stood by her viewpoint regarding “Still/Here.”