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Yvonne Rainer's 1965 performance 'Parts of Some Sextets', for 10 people and 12 mattresses, represents a turning point in the American choreographer's oeuvre. Built on her formative years with the Judson Dance Theater, "my mattress monster," as Rainer calls it, was where she asserted her exploration of "ordinary" actions and her disregard for narrative constructions, creating an intricate choreography with a new scene every 30 seconds. More than half a century after its premiere, Rainer, in collaboration with dance artist Emily Coates, directed the 2019 revival of the piece for the Performa 19 Biennial in New York. Remembering a Dance focuses on the two distinct occurrences of this single dance. In this book, exquisitely designed by Nick Mauss, previously unpublished archival images and documents from the 1965 stagings at the Judson Memorial Church in New York and the Wadsworth Atheneum in Hartford resonate with contemporary responses and pose questions about the trajectories of artworks, performers and audiences.

kunst --- dans --- choreografen --- choreografie --- Rainer Yvonne --- Verenigde Staten --- twintigste eeuw --- eenentwintigste eeuw --- 792.071 --- fotografie --- dansfotografie --- Rainer, Yvonne, --- Performance-art --- Danse

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Feminist films --- Experimental films --- Feminist cinema --- Feminist motion pictures --- Women's liberation films --- Motion pictures --- History and criticism. --- Rainer, Yvonne, --- Film --- Rainer, Yvonne --- United States --- United States of America --- Film directors --- Book

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Yvonne Rainer's The Mind is a Muscle (1968) stripped away the gestural conventions of dance or theatre narrative in an attempt to present the human subject on her own terms while at the same time manipulating the seductiveness of the image, increasingly being harnessed by capitalism. In 1968, toward the end of a decade that witnessed civil rights protests, the escalation of the war in Vietnam and an expanded notion of artistic practice, Yvonne Rainer presented her evening-length work, The Mind is a Muscle, a multipart performance for seven dancers interspersed with film and text. Catherine Wood examines the political and media context in which Rainer chose to use the dance-theatre situation and analyses her radical approach to image-making in live form. For Wood, The Mind is a Muscle proposed a new model of artwork that presents a dynamic tension between materiality and idea. It made manifest an agitated and contradictory relationship to the idea of 'work' in the context of affluent America, and stripped away the gestural conventions of dance or theatre narrative in an attempt to formulate new kinds of 'social scripts' while manipulating the seductiveness of the image, increasingly harnessed by capitalism

Women dancers --- Women choreographers --- Modern dance. --- Experimental films. --- Dance. --- Danseuses --- Femmes chorégraphes --- Danse moderne --- Films expérimentaux --- Danse --- Biography --- Biographies --- Rainer, Yvonne, --- Rainer, Yvonne --- kunst --- autobiografie --- Verenigde Staten --- choreografie --- dans --- film --- experimentele film --- minimalisme --- minimal art --- twintigste eeuw --- Rainer Yvonne --- 7.071 RAINER --- Femmes chorégraphes --- Films expérimentaux --- Dance --- Experimental films --- Modern dance --- Dancers --- Choreographers --- Interpretive dancing --- Modern dancing --- Avant-garde films --- Experimental videos --- Personal films --- Underground films --- Motion pictures --- Video art --- Dances --- Dancing --- Amusements --- Performing arts --- Balls (Parties) --- Eurythmics --- États-Unis

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Teresa de Lauretis --- film en literatuur --- Calvino Italo --- Fellini Federico --- Comparative literature --- Thematology --- Sociology of the family. Sociology of sexuality --- Film --- film --- filmtheorie --- gender studies --- postmodernisme --- literatuur --- feminisme --- Rainer Yvonne --- 791.41 --- Literature --- Women in literature. --- Women in motion pictures. --- Feminism and literature --- Feminism and motion pictures --- Feminism --- History and criticism. --- Literature - History and criticism.

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Judson Dance Theater in Hindsight -- ##Sections and chunks: serial time -- ##Mediating Trio A -- ##Other solutions -- ##Performance demonstration -- ##Conclusion: Taking sides.

Rainer, Yvonne --- Art --- Art, American --- Choreographers --- Dancers --- Experimental films. --- Independent filmmakers --- Minimal art --- Modern dance. --- Political aspects --- History --- Rainer, Yvonne, --- Criticism and interpretation. --- kunst --- autobiografie --- Verenigde Staten --- choreografie --- dans --- film --- experimentele film --- minimalisme --- minimal art --- twintigste eeuw --- Rainer Yvonne --- 7.071 RAINER --- Experimental films --- Modern dance --- Avant-garde films --- Experimental videos --- Personal films --- Underground films --- Motion pictures --- Video art --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Interpretive dancing --- Modern dancing --- Dance --- Art, Minimal --- Minimalism (Art) --- Minimalist art --- Systematic painting --- Art, Abstract --- Art, Modern --- Independent moviemakers --- Motion picture producers and directors --- Chicago Imagists (Group of artists) --- Figuration libre (Group of artists) --- Fort Worth Circle (Group of artists) --- Hairy Who (Group of artists) --- Monster Roster (Group of artists) --- Philadelphia Ten (Group of artists) --- Pictures Generation (Group of artists) --- Film d'artiste --- Chorégraphie --- Danse --- Art minimal --- Cinéma indépendant --- Avant-garde --- Performance --- Cinéma --- Cinéma, histoire --- Vidéo --- USA --- États-Unis --- Art, Primitive