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Journal articles on the topic 'Yvonne Rainer'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Kemp, S. "Yvonne Rainer, The Films of Yvonne Rainer." Screen 33, no. 1 (1992): 117–21. http://dx.doi.org/10.1093/screen/33.1.117.

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2

Rainer, Yvonne. "Yvonne Rainer; Filmmaker." Film Quarterly 52, no. 1 (1998): 67. http://dx.doi.org/10.2307/1213386.

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Rainer, Yvonne. "Yvonne Rainer; Filmmaker." Film Quarterly 52, no. 1 (1998): 67. http://dx.doi.org/10.1525/fq.1998.52.1.04a00350.

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4

Crimp, Douglas. "Yvonne Rainer, Muciz Lover." Grey Room 22 (January 2006): 48–67. http://dx.doi.org/10.1162/152638106775434440.

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Henne, Claudia. "radikal anders." tanz 15, no. 11 (2024): 20–21. http://dx.doi.org/10.5771/1869-7720-2024-11-020.

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6

Epps, Philomena. "Yvonne Rainer: The Choreography of Film." Moving Image Review & Art Journal (MIRAJ) 8, no. 1 (2019): 184–92. http://dx.doi.org/10.1386/miraj_00018_4.

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7

Finnane, Gabrielle. "Discussingprivilege: An interview with Yvonne Rainer." Continuum 5, no. 2 (1992): 267–75. http://dx.doi.org/10.1080/10304319209388238.

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8

Morse, Meredith. "“Minimalist” Dance, Social Critique: Revisiting Yvonne Rainer and Steve Paxton's 1963Word Words." Dance Research Journal 50, no. 3 (2018): 55–70. http://dx.doi.org/10.1017/s0149767718000360.

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In this essay, I reexamine Yvonne Rainer and Steve Paxton's 1963 danceWord Words, arguing that this apparently “minimalist” work in fact deployed “underground” strategies, those of female (and male) impersonation. Camp performance, an approach that Rainer soon disavowed, allowedWord Wordsto explore gender in ways that were not possible by the time Rainer developedTrio A.Word Wordsdid not simply “overwrite” Rainer's (female) gender, as has been suggested alongside similar discussions ofTrio Aand gender, but destabilized the gender system's binaries: a deeply radical move, even in the context of

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9

Wilson, Siona. "Structures of Feeling: Yvonne Rainer circa 1974." October 152 (May 2015): 3–25. http://dx.doi.org/10.1162/octo_a_00214.

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Yvonne Rainer's transition from choreography to filmmaking in the 1970s coincided with the widespread social and political impact of the women's movement. Through a close analysis of her second feature-length film, this essay argues that Film About a Woman Who … (1974) can be understood as a complex reflection on the widely influential feminist idea “the personal is the political.” Rather than seeing Rainer's turn to the personal and emotional as the antithesis of a materialist political analysis—as Marxist influenced critics have tended to—I draw upon Raymond Williams's concept of “structures

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10

Fernandes, Mariana Patrício. "Por que calafrios?: interações entre imagem, corpo e desejo em Yvonne Rainer." Alea : Estudos Neolatinos 12, no. 1 (2010): 150–63. http://dx.doi.org/10.1590/s1517-106x2010000100011.

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Desde os anos 1960, no cenário de vanguarda nova-iorquina de Greenwich Village, Yvonne Rainer enveredou no cinema e na dança pela investigação das potencialidades intrínsecas do corpo, "sua fisicalidade", como chamava. As relações entre corpo, política e a subjetividade, tomaram formas diversas e paradoxais durante o percurso de Rainer. O presente artigo procura estabelecer um diálogo entre o trabalho da coreógrafa e alguns questionamentos contemporâneos sobre as relações entre corpo e imagem.

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11

Rainer, Yvonne. "What's So Funny? Laughter and Anger in the Time of the Assassins." October 160 (June 2017): 79–90. http://dx.doi.org/10.1162/octo_a_00292.

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Yvonne Rainer offers a witty and timely meditation on forms of humor—horrifying, puzzling, peculiar, droll—elicited by our current political moment, while reminiscing about comedy in performances at the Judson Church and elsewhere in the 1960s.

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12

Maillo Palma, Laura. "Nauman, Mirecka, Rainer: entre el cuerpo y el gesto / Nauman, Mirecka, Rainer: between body and sign." Laocoonte. Revista de Estética y Teoría de las Artes, no. 4 (December 12, 2017): 134. http://dx.doi.org/10.7203/laocoonte.0.4.10280.

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¿Existe un lenguaje físico, que subsuma al lenguaje verbal? Para plantear esta pregunta, en toda su amplitud, primero, nos detendremos en la observación del cuerpo como objeto y sujeto artístico a partir de tres piezas realizadas por el performer Bruce Nauman, la actriz Rena Mirecka y la bailarina Yvonne Rainer, respectivamente. En lo que sigue, continuaremos adentrándonos en el territorio de lo corpóreo ?ya explorado pero aún inexorable— con la ayuda de Jean-Luc Nancy. Y, finalmente, buscaremos conexiones con el territorio del signo, estudiado por Umberto Eco y por Erika Fischer-Lichte, en su

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13

Haskell, John. "Learning the Steps: In my body with Yvonne Rainer." Yale Review 112, no. 4 (2024): 10–25. https://doi.org/10.1353/tyr.2024.a945753.

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14

Margolis, Harriet. ": Radical Juxtaposition: The Films of Yvonne Rainer . Shelley Green." Film Quarterly 49, no. 3 (1996): 62. http://dx.doi.org/10.1525/fq.1996.49.3.04a00170.

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15

Churner, Rachel, Malcolm Turvey, Giuliana Bruno, et al. "Annette Michelson Remembered." October 169 (August 2019): 105–63. http://dx.doi.org/10.1162/octo_a_00362.

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Nineteen scholars, writers, and friends remember Annette Michelson (1922–2018), cofounder of October. Written tributes by Giuliana Bruno, Scott Bukatman, Enrico Camporesi, Edward Dimendberg, Jean-Michel Frodon, Amos Gitai, Vivian Gornick, Gertrud Koch, Antonia Lant, Stuart Liebman, Anne McCarthy, Tony Pipolo, Robert Polidori, Yvonne Rainer, Ethan Taubes, Allen S. Weiss, and Federico Windhausen, and a series of photographs by Babette Mangolte.

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16

Brannigan, Erin. "Being Watched: Yvonne Rainer and the 1960s by Carrie Lambert-Beatty Being Watched: Yvonne Rainer and the 1960s Lambert-Beatty Carrie MIT Press , Cambridge, MA." Dance Research Journal 43, no. 1 (2011): 114–17. http://dx.doi.org/10.5406/danceresearchj.43.1.0114.

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17

Bell, Biba. "Radical Bodies: Anna Halprin, Simone Forti, and Yvonne Rainer in California and New York, 1955–1972; The Concrete Body: Yvonne Rainer, Carolee Schneemann, Vito Acconci." TDR/The Drama Review 62, no. 3 (2018): 188–91. http://dx.doi.org/10.1162/dram_r_00783.

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18

Margolis, Harriet. "Review: Radical Juxtaposition: The Films of Yvonne Rainer by Shelley Green." Film Quarterly 49, no. 3 (1996): 62. http://dx.doi.org/10.2307/1213481.

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19

BOWMAN, MATTHEW. "BEING WATCHED: YVONNE RAINER AND THE 1960s BY CARRIE LAMBERT-BEATTY." Art Book 16, no. 4 (2009): 72–73. http://dx.doi.org/10.1111/j.1467-8357.2009.01067.x.

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20

Dimendberg, Edward. "A Conversation with Annette Michelson." October 169 (August 2019): 17–37. http://dx.doi.org/10.1162/octo_a_00358.

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Film scholar Edward Dimendberg spoke to Annette Michelson in July 2014 for a series of interviews sponsored by the Getty Research Institute. In their conversation, which is published for the first time here, Michelson discusses her first encounters with North American avant-garde film, the early days of Anthology Film Archives, and such figures as Jonas Mekas, P. Adams Sitney, Peter Kubelka, Yvonne Rainer, Hollis Frampton, Michael Snow, Stan Brakhage, Hans Richter, Harry Smith, Jack Smith, Marcel Duchamp, Joyce Wieland, Agnès Varda, Richard Serra, and Marguerite Duras, among others.

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21

Taylor, Holly. "Radical Bodies: Anna Halprin, Simone Forti, and Yvonne Rainer in California 1955–1972." PAJ: A Journal of Performance and Art 39, no. 3 (2017): 102–3. http://dx.doi.org/10.1162/pajj_r_00387.

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22

MacDonald, Scott, Anne Severson, and Yvonne Rainer. "Two Interviews. Demystifying the Female Body: Anne Severson: "Near the Big Chakra". Yvonne Rainer: "Privilege"." Film Quarterly 45, no. 1 (1991): 18–32. http://dx.doi.org/10.2307/1212670.

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23

MacDonald, Scott, Anne Severson, and Yvonne Rainer. "Two Interviews. Demystifying the Female Body: Anne Severson: "Near the Big Chakra". Yvonne Rainer: "Privilege"." Film Quarterly 45, no. 1 (1991): 18–32. http://dx.doi.org/10.1525/fq.1991.45.1.04a00040.

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24

McPherson, Elizabeth. "Radical Bodies: Anna Halprin, Simone Forti, Yvonne Rainer in California and New York, 1955–1972." Journal of Dance Education 19, no. 2 (2019): 85–86. http://dx.doi.org/10.1080/15290824.2019.1582408.

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25

Pejović, Marko. "Discourses on Woman/Body and the Politics of Movement in Ballet, Dance and Hip-Hop." AM Journal of Art and Media Studies, no. 8 (October 15, 2015): 57–67. http://dx.doi.org/10.25038/am.v0i8.106.

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The aim of this study is to point out the relationship of ballet, modern dance and hip-hop towards the female body. The main question that the text deals with is whether ballet, modern dance and hip-hop and their politics of movement have only maintained or have also significantly influenced the discourses on the body and women. To what extent have these practices utilized the mechanism of splitting in generating a monolithic matrix of the female body, and how much has such a matrix been a basis for controlling and disciplining the female performer? What means have individual authors used when

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26

Ogrodnik, Benjamin. "Silenced Images, Fragmented Histories." Feminist Media Histories 5, no. 2 (2019): 211–39. http://dx.doi.org/10.1525/fmh.2019.5.2.211.

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Sharon Green's short film Self Portrait of a Nude Model Turned Cinematographer (1971) represents a collision of incipient cinefeminism and autobiographical filmmaking. Containing a blend of still photographs and subjective moving-image shots of her body, the work has largely been overlooked because of a reductive framing of it as mere homage to male avant-garde artists such as Stan Brakhage, for whom Green was a nude model. By analyzing aspects of visual form, production, and exhibition, this article performs a corrective “microhistory” that reclaims Green's film as an important hybrid of erot

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27

Chan, Paul. "Machina Aesthetica: Impressions on Art in and out of the Machine Age." October, no. 187 (2024): 3–18. http://dx.doi.org/10.1162/octo_a_00505.

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Abstract Paul Chan reflects on his experiences as an artist working in and out of domains of technology, from truetype fonts and pirated software to datasets and machine-learning frameworks. He recounts periods of his artistic life when he abandoned technologies as instruments of production. And he offers an idiosyncratic account of a lineage of artists and writers he admires who used and abused technology in aspects of their work—including Agnès Varda, Chris Marker, the Left Bank Group in 1960s, Yvonne Rainer, Theodor Adorno and the Radio Research Project; the bio-cybernetic work of free-jazz

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28

Jowitt, Deborah. "Yvonne Rainer, Feelings are Facts: A Life. Cambridge, Massachusetts; London: MIT Press, 2006. 473 pages, illustrated." Dance Research 26, no. 1 (2008): 68–69. http://dx.doi.org/10.3366/e026428750800011x.

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29

Shaskevich, Helena. "Archiving Feeling in Yvonne Rainer's Journeys from Berlin/1971." Camera Obscura 38, no. 1 (2023): 133–63. http://dx.doi.org/10.1215/02705346-10278628.

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Abstract Yvonne Rainer's third and most explicitly political feature-length film, Journeys from Berlin/1971 (US/UK/West Germany, 1979) explores the relationship between personal and political trauma through the lens of the instability and violence that ravaged West Germany during the period commonly referred to as the German Autumn (1977). Through a close reading of the film's formal structure, this essay argues that Journeys from Berlin/1971 represents Rainer's attempt to imagine a feminist counterpublic in the form of a queer “archive of feelings.” This essay traces the film's narrative junc

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30

Buchloh, Benjamin H. D. "Kasper König (1943-2024)." October, no. 190 (2024): 11–16. https://doi.org/10.1162/octo_a_00535.

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Abstract The article examines the influential legacy of curator and editor Kasper König (1943–2024), focusing particularly on his groundbreaking editorial work at the Nova Scotia College of Art and Design in the early 1970s. Buchloh traces König's evolution from co-founding the publishing house Gebrüder König with his brother in 1967 to his pivotal role in developing the Nova Scotia Series. The article highlights König's commitment to interdisciplinary approaches, particularly through publishing projects that bridged visual art, performance, architecture, dance, and music. Key publications dis

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31

Reynoso, Jose L. "Democracy's Body, Neoliberalism's Body: The Ambivalent Search for Egalitarianism Within the Contemporary Post/Modern Dance Tradition." Dance Research Journal 51, no. 01 (2019): 47–65. http://dx.doi.org/10.1017/s0149767719000044.

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This article analyzes ways in which dance as labor and artist as a specific subjectivity relate to the material conditions of their production within contexts shaped by neoliberal notions of freedom, ideologies of liberal democracy, and the logic of global capitalism. The discussion focuses on contemporary dance practices that embody some of these values by striving to be more egalitarian, thus giving performers more agency in how they participate in creative processes that lead to a collectively created performance work. This analysis emphasizes the tension between these collaborative practic

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32

Burt, Ramsay. "Trio A in Europe." Dance Research Journal 41, no. 2 (2009): 25–27. http://dx.doi.org/10.1017/s0149767700000632.

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Since the mid-1990s European dancers and audiences have played a significant role in the revival of interest in Yvonne Rainer's dance work. Two key examples of this are the restaging of Rainer's Continuous Project-Altered Daily (CP-AD) in 1996 by the French group Quatuor Albrecht Knust and the more recent creation and trial of the Labanotation score of Trio A in London. In her reminiscences printed above, Pat Catterson suggests that Trio A' s “relaxed natural quality, equality of parts, its tame simplicity, and durational patience may be out of synch with today's Zeitgeist.” During Charles Atl

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33

Tompson, MJ. "Being Watched: Yvonne Rainer and the 1960s. By Carrie Lambert-Beatty. Cambridge: MIT Press, 2008; 384 pp. $34.95 cloth." TDR/The Drama Review 54, no. 4 (2010): 227–29. http://dx.doi.org/10.1162/dram_r_00035.

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34

Giersdorf, Jens Richard. "Trio ACanonical." Dance Research Journal 41, no. 2 (2009): 19–24. http://dx.doi.org/10.1017/s0149767700000620.

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Despite Yvonne Rainer's subversive refusal to stageTrio Aas a spectacle, to have it represent or narrate social structures, or to engage with the audience in a traditional manner, the landmarks of canonization have all been put upon it. The Banes-produced 1978 film of Rainer dancingTrio Awas recently exhibited while the dance was performed live simultaneously by Pat Catterson, Jimmy Robert, and Ian White at the Museum of Modern Art,theinstitution that determines what constitutes important modernist and contemporary art in the United States and, indeed, the Western world. In conjunction with Ra

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35

Sirotkina, I.E. "Desire vs Biopower: Dance Revolution of the Twentieth Century." Sociology of Power, no. 2 (June 7, 2017): 97–115. https://doi.org/10.22394/2074-0492-2017-2-97-115.

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The article deals with the dance revolution of the twentieth century - the emergence of "new dance” in which desire is produced, and not simply represented. Contemporary dance places the emphasis on spontaneity, the autonomous functioning of the body, and improvisation. There are at least two basic conceptions of desire in philosophy: the first is mimetic desire of the other (longing for a recognition from the other) and bodily desire (which corresponds to libido in psychoanalysis). The first conception had been proposed by Hegel and developed by A. Kojève and René Girard,

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36

Coelho, Sílvia Pinto. "Cathy Weis talks with Sílvia Pinto Coelho. Sept-Dec 2022, Weis Acres, Broadway SoHo, US." Revista Estud(i)os de Dança 1, no. 2 (2024): 1–14. http://dx.doi.org/10.53072/red202302/00301.

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This interview was carried out in the context of post-doctoral research centred on attention and choreographic thinking.[1] In this research, the work of US postmodern dance choreographers such as Lisa Nelson and Yvonne Rainer are examples of a type of ethics, aesthetics and even politics that is characteristic of the arts in a particular context and that expands to various other fields, both in terms of approach and focus of interest. Following a stay in New York, another choreographer entered the "collection of US dancers with a camera in their hand", and the use of cinema elements on stage.

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37

Sirotkina, Irina. "Desire vs Biopower: Dance Revolution of the Twentieth Century." Sociology of Power 29, no. 2 (2017): 97–115. http://dx.doi.org/10.22394/2074-0492-2017-2-97-115.

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The article deals with the dance revolution of the twentieth century - the emergence of "new dance” in which desire is produced, and not simply represented. Contemporary dance places the emphasis on spontaneity, the autonomous functioning of the body, and improvisation. There are at least two basic conceptions of desire in philosophy: the first is mimetic desire of the other (longing for a recognition from the other) and bodily desire (which corresponds to libido in psychoanalysis). The first conception had been proposed by Hegel and developed by A. Kojève and René Girard, the second - by Niet

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38

Kroismayr, Sigrid. "Yvonne Franz, Hans-Heinrich Blotevogel and Rainer Danielzyk (Eds.) (2018): Social innovation in urban and regional developement. Perspectives on an emerging field in planning and urban studies. 152 Seiten. Wien: Österreichische Akademie der Wissenschaften." Österreichische Zeitschrift für Soziologie 45, no. 1 (2020): 95–97. http://dx.doi.org/10.1007/s11614-020-00396-y.

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39

Renard, Johanna. "Yvonne Rainer, Poèmes." Critique d’art, December 7, 2021. http://dx.doi.org/10.4000/critiquedart.85710.

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40

"Yvonne Rainer on autobiography." Women & Performance: a journal of feminist theory 10, no. 1-2 (1999): 89–103. http://dx.doi.org/10.1080/07407709908571293.

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41

"The films of Yvonne Rainer." Choice Reviews Online 27, no. 11 (1990): 27–6272. http://dx.doi.org/10.5860/choice.27-6272.

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42

Renard, Johanna. "Yvonne Rainer : Moving and Being Moved." Critique d’art, May 28, 2018. http://dx.doi.org/10.4000/critiquedart.29277.

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43

Nicoliello, Ana Rita. "Yvonne Rainer e os fins da dança: corpo, consciência e educação somática." DoisPontos 15, no. 2 (2018). http://dx.doi.org/10.5380/dp.v15i2.62709.

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Neste artigo, articulo três sentidos distintos da expressão “Fins da Arte” - analítico-filosófico, estético e teleológico – para refletir acerca de um movimento importante no cenário da arte da dança, que transformou radicalmente o modo como nossa cultura ocidental compreende o corpo. Refiro-me à dança pós-moderna americana que se desenvolveu principalmente nas décadas de 60, 70 e 80, e tomo como paradigma o trabalho da coreógrafa, bailarina e cineasta Yvonne Rainer, denominado Trio A. Meu argumento é que, neste trabalho coreográfico, Yvonne Rainer coloca, com seu próprio corpo, a questão do “

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44

"Being watched: Yvonne Rainer and the 1960s." Choice Reviews Online 46, no. 07 (2009): 46–3758. http://dx.doi.org/10.5860/choice.46-3758.

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45

"Nanako Nakajima in Conversation with Yvonne Rainer." Performance Research 24, no. 3 (2019): 13–23. http://dx.doi.org/10.1080/13528165.2019.1600355.

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46

Chapuis, Yvane. "Yvonne Rainer. Une Femme qui… : écrits, entretiens, essais critiques." Critique d’art, no. 33 (April 1, 2009). http://dx.doi.org/10.4000/critiquedart.594.

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47

Berceliot Courtin, Arlène. "Johanna Renard, Un Ennui radical : Yvonne Rainer, danse et cinéma." Critique d’art, June 7, 2023. http://dx.doi.org/10.4000/critiquedart.104081.

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48

Rabadan Villalpando, María Eugenia, and Alejandra Olvera Rabadán. "Cinematografía experimental y danza posmoderna en Film About a Woman Who... (1974) de Yvonne Rainer." El Ornitorrinco Tachado. Revista de artes visuales, no. 15 (April 25, 2022). http://dx.doi.org/10.36677/eot.v0i15.18023.

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ENSAYO ACADÉMICO Este ensayo se propone examinar el carácter interdisciplinario de la cinematografía experimental y la danza posmoderna en el Film About a Woman Who… (1974) escrito y dirigido por Yvonne Rainer. Su narrativa autobiográfica permite suponer la separación de las disciplinas en su vida y obra cuando afirma que a la edad de cuarenta ella deja el campo ⎯danzario⎯ para dedicarse enteramente a filmar narrativas experimentales. No obstante, con base en los Estudios Visuales como método de investigación, que particularmente consideran a las imágenes como teoría, tanto como ejemplos

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49

Burton, Johanna. "Johanna Burton. Review of "Being Watched: Yvonne Rainer and the 1960s" by Carrie Lambert-Beatty." caa.reviews, January 19, 2011. http://dx.doi.org/10.3202/caa.reviews.2011.14.

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50

Awad, Carolina Muñoz. "Un medio, el cuerpo. Un miedo, el cuerpo." Arts & Communication, September 20, 2023, 1137. http://dx.doi.org/10.36922/ac.1137.

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I needed to feel held. Physically, by the inanimate, during a pandemic that was transmitted by touch. Doing nothing, while performing, became the subject of my studies. How do I perform with a body that does not know how it uses space, how much it measures, and how much it feels? Counting, keeping scores, and pushing to the limit of uncomfortability, became my way of establishing the timelines. Seventeen lemons, my own body weight, and 42 cm, are some of the objective parameters I found while enacting absurdity, improvisation, and movement through my human body. The resourcing of the works is

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