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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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"In this important new survey, Catherine Wood proposes performance not as a genre of art separate from object-making but as an attitude that has infiltrated the entire terrain of contemporary art. From the musical-theatricals of Marvin-Gaye Chetwynd to the public encounters created by Tino Seghal and the social activism of Tania Bruguera, a hugely divergent set of practices has emerged in the past twenty to thirty years which embrace the worlds of sculpture and painting, spectacle and protest. Examining in turn individual, social and object-based approaches in the field, Wood first examines the influential performance art of the 1960s to 1980s: the body art of the Viennese actionists; the raw performances of Yoko Ono and Chris Burden; and the experiments of the Japanese Gutai group among others. She then explores how these sources have been revisited, reformed or rejected by contemporary artists in the twenty-first century. This impressive book encompasses international artists who fall outside the traditional European and North American focus, giving the reader the broadest and most up-to-date insight into the subject yet published."--Amazon.com.
Kunst --- performances [live] --- levende sculptuur --- Performance art. --- Performance art --- History. --- Performance artists --- Artists and theater --- Arts, Modern --- kunst --- eenentwintigste eeuw --- twintigste eeuw --- lichamelijkheid --- 7.038/039 --- activisme --- kunst en politiek --- performances --- Artists and the theater --- Theater and artists --- Theater --- Artists --- Happenings (Art) --- Performing arts --- History --- Artists and theater. --- Arts, Modern. --- Performance artists. --- 1900-2099. --- Art --- performance art --- living sculpture
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Iconography --- Art --- boxes [containers] --- installations [visual works] --- art [discipline] --- Whiteread, Rachel --- Great Britain
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Stunningly beautiful, deeply puzzling, powerfully moving, or intensely unsettling—performance art can evoke a wide variety of responses. In this important survey, Catherine Wood, one of the world’s leading curators and writers in this field, provides the broadest and most up-to-date insight into the subject yet published. Wood proposes performance not as a genre separate from object-making but as a medium that has profoundly influenced the shape of contemporary art. From the spectacular forms of intimacy performed by Marina Abramović to the painting processions initiated by Ei Arakawa and the social activism of Tania Bruguera, hugely divergent practices have emerged in the past 30 years that embrace the worlds of sculpture and painting, spectacle, and protest.
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This artists' book arose from the exhibition Marc Camille Chaimowicz, Zürich Suite at the migros museum für gegenwartskunst, Zürich 8 April - 18 June, 2006. The publication is based on a concept by the artist and is resultant of a creative dialogue between him, Heike Munder and the designers Urs Lehni and Lex Trüb.
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paintings [visual works] --- drawings [visual works] --- sculpture [visual works] --- installations [visual works] --- photography [process] --- video art --- performance art --- stuffed toys --- memory [psychological concept] --- texts [documents] --- sound art --- characters [people by activity] --- narrative art --- Kelley, Mike
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"This exhibition will take a new look at the dynamic relationship between performance and painting since 1950. Contrasting key paintings by Jackson Pollock and David Hockney, the exhibition considers two different approaches to the idea of the canvas as an arena in which to act: one gestural, the other one theatrical. The paintings of the Vienna Actionists or the Shooting Pictures of Niki de St Phalle will be re-presented within the performance context that they were made, and juxtaposed with works by artists such as Cindy Sherman or Jack Smith that used the face and body as a surface, often using make-up in work dealing with gender role-play. The exhibition proposes a new way of looking at the work of a number of younger artists whose approach to painting is energised by these diverse historical sources, drawing upon action painting, drag and the idea of the stage set"--Tate website.
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