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How Yvonne Rainer's art shaped new ways of watching as well as performing; how it connected 1960s avant-garde art to politics and activism. In her dance and performances of the 1960s, Yvonne Rainer famously transformed the performing body—stripped it of special techniques and star status, traded its costumes and leotards for T-shirts and sneakers, asked it to haul mattresses or recite texts rather than leap or spin. Without discounting these innovations, Carrie Lambert-Beatty argues in Being Watched that the crucial site of Rainer's interventions in the 1960s was less the body of the performer than the eye of the viewer—or rather, the body as offered to the eye. Rainer's art, Lambert-Beatty writes, is structured by a peculiar tension between the body and its display. Through close readings of Rainer's works of the 1960s—from the often-discussed dance Trio A to lesser-known Vietnam war-era protest dances—Lambert-Beatty explores how these performances embodied what Rainer called “the seeing difficulty.” (As Rainer said: “Dance is hard to see.”) Viewed from this perspective, Rainer's work becomes a bridge between key episodes in postwar art. Lambert-Beatty shows how Rainer's art (and related performance work in Happenings, Fluxus, and Judson Dance Theater) connects with the transformation of the subject-object relation in minimalism and with emerging feminist discourse on the political implications of the objectifying gaze. In a spectacle-soaked era, moreover—when images of war played nightly on the television news—Rainer's work engaged the habits of viewing formed in mass-media America, linking avant-garde art and the wider culture of the 1960s. Rainer is significant, argues Lambert-Beatty, not only as a choreographer, but as a sculptor of spectatorship.
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Being Watched: Yvonne Rainer and the 1960s (October Books)
Being Watched: Yvonne Rainer and the 1960s (October Books ~ A brilliantly vivid description of Rainer, Judson, and art making in the 1960s, Being Watched sets a new scholarly standard for dance and performance studies. Combining impeccable archival work, a nuanced understanding of the drama of vision, and a lyrical sensitivity to movement, Being Watched is an absolute pleasure to read.
Being Watched: Yvonne ~ Being Watched: Yvonne Rainer and the 1960s by Carrie Lambert-Beatty MIT Press /October Books, 2008 Reviewed by Karen Kurczynski serious exploration of the performance-based art of Yvonne Rainer reframes our contemporary understanding of Rainer's role in the multimedia experiments of the 1960s as interrogations of the relationship between
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Being Watched: Yvonne Rainer and the 1960s - October Books ~ In her dance and performances of the 1960s, Yvonne Rainer famously transformed the performing body -- stripped it of special techniques and star status, traded its costumes and leotards for T-shirts and sneakers, asked it to haul mattresses or recite texts rather than leap or spin.
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Yvonne Rainer : Work 1961 - 73: Rainer, Yvonne ~ Now that the 1960s are being constantly memorialized, this book was a bracing account of one particular artistic career in those turbulent times. WORK 1961-73 is Yvonne Rainer's very detailed account of her artistic endeavors during that period, a period when she was at the center of the revolutions going on in dance and art.
Yvonne Rainer: Work 1961–73: Rainer, Yvonne: 9781732098633 ~ Now that the 1960s are being constantly memorialized, this book was a bracing account of one particular artistic career in those turbulent times. WORK 1961-73 is Yvonne Rainer's very detailed account of her artistic endeavors during that period, a period when she was at the center of the revolutions going on in dance and art.
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Choreographer Yvonne Rainer takes the stage in three new ~ Being Watched: Yvonne Rainer and the 1960s (October Books) BY Carrie Lambert-Beatty. The MIT Press. Hardcover, 384 pages. $34.
