Yvonne rainer robert morris

Regarding this point, Rainer is a splendid example of emancipation through reading. Her notebooks, now archived at The Getty Research Institute, attest to her position as a reader, questioning the meanings of dance and film, and how to relate to these practices from a feminist perspective. This is why I would like to focus my project around the archive as a protagonist, a living body, a speaking body, so to speak.

The archive speaks very loudly; one cannot turn a deaf ear to these voices from the past. It is the ultimate resource. It is a blank slate, before interpretation takes hold of it. I wish to celebrate her life and work as an example of constant evolution and revolution, in the context of various political movements from the s to mids, and to acknowledge her as a pre-queer artist.

We should read and learn from her criticism of minimalism, post-modernism, and essentialism in feminism, and also from her cinematographic exploration of aging. This is really all we should be teaching and learning in art education in France: How to become old? How to age individually and collectively? It was wonderful to go over this re-creation process with him and, more specifically, to explore the way Yvonne and Emily included archival as well as iconographic sources into this collective endeavor, and how the original concept challenged the re-creation.

I am also preparing, for this new year, a book project in collaboration with JRP-Ringier bringing together for the first time a collection of texts written by Yvonne Rainer from the s to today, the majority of which are largely unpublished in French. Jo-ey Tang is an artist and curator living in San Francisco. He grew up in Hong Kong and Oakland, California.

In , after spending ten years at the head of world-famous contemporary art galleries, she co-founded the curator-run space furiosa, a project devoted to research on art and curating. Villa Albertine. EN FR. By Jo-ey Tang. Performing Arts. Audiovisual Music Performing Arts. LA NYC. Highlights from Villa Albertine. Music Newsletter.

I was in my early twenties, and I was no good. Objectively speaking, I never had a talent for mimesis. A musician friend of mine was going to a dance class. She said it would be good for my acting, and I went to this class in the Village taught by Edith Stephen. She had studied African dance and Humphrey-Weidman technique, so it was very eclectic.

After the first class, I asked her for an evaluation. I loved jumping around. I had a huge amount of energy, strong legs, and I luckily had no idea how structurally ill-adapted I was for traditional dance of any kind. I was ignorant of that until relatively recently. I would go there early and peek through the curtains, and he would be rehearsing by himself.

It was like he was on ice. It was so beautiful. So when I began to use running in my early work, I made a comparison to that freedom, that pleasure in movement that I attributed to him when I first saw him—it was like the feeling I had when I ran. After Edith, I studied for a year with Martha Graham. I slowly gravitated toward John Cage and Cunningham, and I studied with Merce for eight years and took ballet classes.

I worked with him from to There were five of us in the workshop that first year, including Simone Forti and Steve Paxton—Steve was already dancing with Cunningham. We all began to make work. In the following year, four more people came in. Then in , some of us tried out for this annual dance concert that took place at the 92nd Street Y. We auditioned before a jury of three choreographers, and we were all turned down: Lucinda Childs, Trisha Brown, Steve, and I.

None of us made the grade. We realized that we had to do something on our own if we wanted to show our work publicly. Reading across texts, statements, and practices of a range of artist-critics at work through the s, including Rainer, Lucy Lippard, Robert Morris, Donald Judd, Rosalind Krauss, Susan Sontag, and Barbara Rose, it seeks to identify points of transfer between critical approaches to dance and sculpture that were, on the surface and in the literature, answerable to different sets of concerns.

This thesis draws on archival research in order to make a case for Trio A as an expressive mass of material that is constituted at the intersection of an embodied, daily expenditure of energy and forms of verbal transcription, both of which serve to relay activities in the social life of the subject. It included Cunningham, it included Waring and Cage.

There were a lot of different aesthetics and dance approaches in it. At that point there were only five of us. I mean, painters were defying all the rules already and Cage came along and introduced a whole new vocabulary of sounds and movements. PAXTON: Chance methods meant that instead of trying to imagine a new way to do something, you just set out using dice, coins to decide what part of the body to use or entrances and exits and length durations.

Critics and audiences alike ographers working today. Things are May I add my two-cents plain to the brouhaha accruing from your always more complicated than that. Insofar as Kenneth King has done so admirable doing their thing 30 years ago. But why was their influence a job and one with which I largely concur on the Monk-King-- in the dance world not felt in any visible degree until ?

Clear- Dean-Wilson-Glass connections, let me confine my remarks to my ly it required a convergence of a number of people from different own peers. For this purpose I am enclosing a crudely drawn-and areas of art-making to manifest the ideas that in the intervening vastly oversimplified-genealogy chart which adds several 10 years had lain fallow.

Some North American choreographers at that time were also dealing with the same question: how to bring art closer to their lives.

Yvonne rainer robert morris

This is a Theater, an important group of artists from the s place for experiments and performance. York University. She is the dance—performances that Village Voice critic Jill Johnston would declare the most editor of the October Files exciting in a generation. Performance Art at MoMA.