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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 In this book, exquisitely designed by Nick Mauss, previously unpublished archival images and documents from the 1965 stagings at the Judson Memorial Church in New York and the Wadsworth Atheneum in Hartford resonate with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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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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Loin de relire l'histoire de l'art en lui appliquant de façon anachronique le terme « queer », utilisé positivement dans les milieux militants depuis la fin des années 1980, Pour une esthétique de l'émancipation cherche à montrer comment l'écriture de l'Histoire de l'art a minoré l'importance des engagements politiques et affectifs des artistes et rendu inopérante la portée sociale de leurs oeuvres. En imaginant des amitiés inédites entre des artistes du passé, Isabelle Alfonsi fait émerger une lignée féministe et queer pour l'art contemporain. Des pratiques artistiques du XXe siècle sont ainsi replacées dans le contexte du militantisme de défense des droits des homosexuel•le•s et de la formation d'une critique radicale féministe et anticapitaliste. Claude Cahun et Michel Journiac croisent l'histoire du minimalisme états-unien, vu à travers Lynda Benglis, Lucy Lippard ou Yvonne Rainer. Les guerres de représentation menées pendant la crise du sida sont lues au prisme des oeuvres de Felix Gonzalez-Torres, du concept de désidentification de José E. Muñoz et de l'activisme culturel du groupe Boy/Girl with Arms Akimbo, dans le San Francisco des années 1980.

Queer theory --- Feminism and the arts --- Théorie queer --- Féminisme et arts. --- Art --- feminism --- philosophy of art --- #breakthecanon --- Sociology of the family. Sociology of sexuality --- homosexuality --- gender [sociological concept] --- Queer --- Féminisme --- Homosexualité --- Homosexuality and art --- Sex and art --- Lippard, Lucy R. --- Rainer, Yvonne --- Théorie queer --- Militantisme --- Identité sexuelle --- Art minimal. --- Dans l'art. --- Aspect social

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Art criticism --- Art, American --- Structuralism --- Poststructuralism --- Critique d'art --- Art américain --- Structuralisme --- Poststructuralisme --- French influences --- Influence française --- 7.01 --- 7.038(7/8) --- Kunsttheorie ; 21ste eeuw --- Amerikaanse kunst ; o.i.v. Franse theorie ; 1960-1990 --- Structuralisme ; Poststructuralisme --- Sartre, Jean-Paul --- Minimalisme --- Bochner, Mel --- Graham, Dan --- Lyotard, Jean-François --- Kunst en feminisme ; Verenigde Staten --- Baudrillard, Jean --- kunst --- kunsttheorie --- filosofie --- Frankrijk --- Verenigde Staten --- twintigste eeuw --- eenentwintigste eeuw --- structuralisme --- poststructuralisme --- existentialisme --- Sartre Jean-Paul --- Bochner Mel --- Graham Dan --- minimalisme --- minimal art --- October --- schilderkunst --- Lyotard Jean-François --- postmodernisme --- Lacoue-Labarthe Philippe --- feminisme --- postfeminisme --- Cixious Hélène --- Blanchot Maurice --- Tel quel --- Acconci Vito --- Rosler Martha --- Rainer Yvonne --- Baudrillard Jean --- Halley Peter --- 7.038/039 --- Kunst ; theorie, filosofie, esthetica --- Kunstgeschiedenis ; 1950 - 2000 ; Amerika --- Art américain --- Influence française --- Art criticism. --- Art, American. --- Geisteswissenschaften. --- Kunst. --- Poststrukturalismus. --- Rezeption. --- Strukturalismus. --- Ästhetik. --- 1900-1999. --- France. --- Frankreich. --- USA. --- Art criticism - France --- Art, American - 20th century

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Artists --- Art, Modern --- Attitudes. --- Art --- art [fine art] --- Vo, Danh --- Chodzko, Adam --- Fast, Omer --- Mekas, Jonas --- Sehgal, Tino --- Oppenheim, Dennis --- Creed, Martin --- Welling, James --- Hiller, Susan --- Hilliard, John --- Metzger, Gustav --- Ashery, Oreet --- Barry, Judith --- Barber, George --- Barlow, Phyllida --- Baseman, Jordan --- Haacke, Hans --- Boulos, Mark --- Bourouissa, Mohammed --- Bronstein, Pablo --- Brown, Glenn --- Rainer, Yvonne --- Pistoletto, Michelangelo --- Gander, Ryan --- Hapaska, Siobhán --- Kimsooja --- Leckey, Mark --- Weiner, Lawrence --- Abramovic, Marina --- Nashashibi, Rosalind --- Rhodes, Liz --- Rothschild, Eva --- Steyerl, Hito --- Toren, Amikam --- Boltanski, Christian --- Żmijewski, Artur --- Smith, John --- Price, Elizabeth --- Tuttle, Richard --- Acconci, Vito --- Kelly, Mary --- Gillick, Liam --- Huws, Bethan --- Pardo, Jorge --- Rist, Pipilotti --- Schneider, Gregor --- Lieshout, van, Joep --- Alÿs, Francis --- Rosler, Martha --- Parker, Cornelia --- Baldessari, John --- Banner, Fiona --- Benglis, Lynda --- Borland, Christine --- Ligon, Glenn --- Marclay, Christian --- Siegelaub, Seth --- Sturtevant, Elaine --- Zittel, Andrea --- Struth, Thomas --- Ondàk, Roman --- Farocki, Harun --- Jaar, Alfredo --- Simpson, Lorna --- anno 2000-2009 --- anno 2010-2019 --- art [discipline]