Monday 21 April 2014

[V860.Ebook] Download PDF Being Watched: Yvonne Rainer and the 1960s (October Books), by Carrie Lambert-Beatty

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Being Watched: Yvonne Rainer and the 1960s (October Books), by Carrie Lambert-Beatty

Being Watched: Yvonne Rainer and the 1960s (October Books), by Carrie Lambert-Beatty



Being Watched: Yvonne Rainer and the 1960s (October Books), by Carrie Lambert-Beatty

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Being Watched: Yvonne Rainer and the 1960s (October Books), by Carrie Lambert-Beatty

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.

  • Sales Rank: #1780328 in Books
  • Published on: 2008-08-15
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.00" h x .69" w x 7.00" l, 2.17 pounds
  • Binding: Hardcover
  • 362 pages

Review

A brilliantly vivid description of Rainer, Judson, and art making in the 1960s, Being Watched sets a new scholarly standard for dance and performance studies. Combining impeccable archival work, a nuanced understanding of the drama of vision, and a lyrical sensitivity to movement, Being Watched is an absolute pleasure to read. In these pages, Rainer emerges as a muscular thinker, a complicated personality, and one of the most influential choreographers of our time. Great artists need great commentators and here we are fortunate to see a truly compelling duet.

(Peggy Phelan, The Ann O'Day Maples Chair in the Arts, and Professor of Drama and English,Stanford University)

The book is a fantastic read and an exemplary text...a highly original analysis, this study is sure to become a classic.

(MJ Thompson TDR: The Drama Review)

About the Author

Carrie Lambert-Beatty is Assistant Professor in the Department of History of Art and Architecture and the Department of Visual and Environmental Studies at Harvard University.

Most helpful customer reviews

4 of 5 people found the following review helpful.
Fantastic
By Art Historian, Jr.
If you want to read Art History with a focus on what it means to look and be looked at, this is the book. I wasn't a huge fan of dance history before reading this book, and I'm still not; this book goes beyond dance and performance history to discuss what it means to produce art in TV culture.

See all 1 customer reviews...

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