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Item Details
| Title:
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BEING WATCHED
YVONNE RAINER AND THE 1960S |
| By: |
Carrie Lambert-Beatty |
| Format: |
Paperback |
| List price:
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£36.00 |
| Our price: |
£27.00 |
| Discount: |
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| You save:
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£9.00 |
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| ISBN 10: |
0262516071 |
| ISBN 13: |
9780262516075 |
| Availability: |
Usually dispatched within 1-2 days.
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| Stock: |
Currently 3 available |
| Publisher: |
MIT PRESS LTD |
| Pub. date: |
25 February, 2011 |
| Series: |
October Books |
| Pages: |
384 |
| Description: |
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. |
| Synopsis: |
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. |
| Illustrations: |
83 b&w illus. |
| Publication: |
US |
| Imprint: |
MIT Press |
| Prizes: |
Winner of Honorable Mention, Music and the Performing Arts category, 2008
Winner of Honorable Mention, Music and the Performing Arts category, 2008 |
| Returns: |
Returnable |
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