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1 videocassette (41 min., 30 sec.) : sd., col. with b&w sequences ; 1/2 in.
"Employing archival film clips and new video, Atlas' self-described 'video montage' is a documentary sous-rature. In his portrayal of filmmaker/choreographer Yvonne Rainer, Atlas undermines genre conventions to pose some of the same questions that have long concerned her. While an extended interview with Rainer runs throughout the piece, Atlas' editing takes up the four 'performers' (Rainer herself among them) who enact and re-enact the interview, shuffling and superimposing image and voice tracks to yield a video palimpsest of theatricality and ambiguity"--Electronic Arts Intermix web site.
Media & Microtext Center
x, 437 p., [35] p. of plates : ill. ; 24 cm.
Art & Architecture Library (Bowes)
viii, 144 p. : ill. ; 23 cm.
Examines the work of Yvonne Rainer, one of the central figures of avant-garde film. The comprehensive study surveys critical reaction and includes Rainer's critical writings, photos, full biographical information, a complete filmography, and bibliography.
(source: Nielsen Book Data)9780810828636 20160528
Green Library
xvi, 473 p. : ill. ; 24 cm.
This is a memoir by the avant-garde dancer, choreographer, and film-maker recounting her childhood years, sexual misadventures, and artistic explorations. In this memoir, dancer, choreographer, and film-maker Yvonne Rainer traces her personal and artistic coming of age. "Feelings Are Facts" - the title comes from a dictum by Rainer's one-time psychotherapist - uses diary entries, letters, program notes, excerpts from film scripts, snapshots, and film frame enlargements to present a vivid portrait of the artist and the woman in postwar America. Rainer tells of a California childhood in which she was farmed out by her parents to foster families and orphanages, of sexual and intellectual initiations in San Francisco and Berkeley, and of artistic discoveries and accomplishments in the New York City dance world. Rainer studied with Martha Graham (and heard Graham declare, "when you accept yourself as a woman, you will have turn-out" - that is, achieve proper ballet position) and Merce Cunningham in the late 1950s and early 1960s, cofounded the Judson Dance Theatre in 1962 (dancing with Trisha Brown, Steve Paxton, David Gordon, and Lucinda Childs), hobnobbed with New York artists, including Robert Rauschenberg, Robert Morris (her lover and partner for several years), and Yoko Ono, and became involved with feminist and anti-war causes in the 1970s and 1980s. Rainer writes about how she constructed her dances - including "The Mind Is a Muscle" and its famous section, Trio A, as well as the recent "After Many a Summer Dies the Swan" - and about turning from dance to film and back to dance. And she writes about meeting her longtime partner, Martha Gever and discovering the pleasures of domestic life. The mosaic-like construction of "Feelings Are Facts" recalls the composition-by-juxtaposition of Rainer's work in film and dance, displaying prismatic variations from what she calls her "reckless past" for our amazement and appreciation.
(source: Nielsen Book Data)9780262182515 20160528
Art & Architecture Library (Bowes)
225 p. : ill. ; 25 cm.
  • Foreword by Teresa de Lauretis Yvonne Rainer: An Introduction by B. Ruby Rich Impossible Projections by Berenice Reynaud Interview with Yvonne Rainer by Mitchell Rosenbaum Illustrations Film Scripts Lives of Performers Film About a Woman Who... Kristina Talking Pictures Journeys from Berlin/1971 The Man Who Envied Women Filmography Bibliography compliled by Patricia White.
  • (source: Nielsen Book Data)9780253349064 20160528
The scripts of Rainer's five films demonstrate the evolution of her political consciousness as well as her creative engagement with the contemporary film and cultural scene.
(source: Nielsen Book Data)9780253205421 20160528
Green Library
xviii, 362 p. : ill. ; 24 cm.
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 post-war 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.
(source: Nielsen Book Data)9780262123013 20160528
Green Library, Art & Architecture Library (Bowes)
2 3/4 inch videotapes: U-matic, 1 MiniDV tape, 2 documents
Women art revolution : videotape interviews by Lynn Hershman-Leeson for film, 1990-2008
1 videodisc (90 min.) : sound, black and white ; 4 3/4 in.
Fourteen episodes that depict real and fictional aspects of avante-garde choreographer Yvonne Rainer's role as film director and choreographer, and of other performers' roles during the making of previous works and this film.
Art & Architecture Library (Bowes)
151 p. : ill. (some col.), ports., facsims. ; 30 cm.
  • Introduction / Sid Sachs
  • An open field : Yvonne Rainer as dance theorist / Sally Banes
  • On being moved : Rainer and the aesthetics of empathy / Carrie Lambert
  • Yvonne Rainer and the recuperation of everyday life / Noël Carroll
  • Skirting and aging : an aging artist's memoir / Yvonne Rainer
  • E-mail correspondence between Sabine Folie and Peggy Phelan from the catalog for the exhibition A Baroque party
  • After many a summer dies the swan : hybrid / Yvonne Rainer
  • Rainer variations / Charles Atlas
  • Chronology.
Green Library
118 p. : ill. ; 22 cm.
Art & Architecture Library (Bowes)
191 pages : illustrations ; 28 cm
  • Introduction / Ninotchka Bennahum and Bruce Robertson
  • Radical bodies : an overview / Wendy Perron, Ninotchka Bennahum, and Bruce Robertson
  • Anna Halprin's radical body in motion / Ninotchka Bennahum
  • Simone Forti : bodynatureartmovementbody / Wendy Perron
  • "Dance is hard to see" : Yvonne Rainer and the visual arts / Bruce Robertson
  • Letters from Forti to Halprin, 1960-1961 / Simone Forti
  • A collaborative community : Ann Halprin and her composers / John Rockwell
  • Working on Parades and changes / Morton Subotnick
  • You make me feel like a natural woman : my encounters with Yvonne, Simone, Anna, and Trisha / Wendy Perron.
In August 1960, Anna Halprin taught an experimental workshop attended by Simone Forti and Yvonne Rainer (along with Trisha Brown and other soon-to-be important artists) on her dance deck on the slopes of Mount Tamalpais, north of San Francisco. Within two years, Forti's conceptually forceful Dance Constructions had premiered in Yoko Ono's loft and Rainer had cofounded the groundbreaking Judson Dance Theater. Radical Bodies reunites Halprin, Forti, and Rainer for the first time inmore than fifty-five years. Dance was a fundamental part of the art world in the 1960s, the most volatile decade in American art, offering a radical image of bodily presence in a moment of revolutionary change. Halprin, Forti, and Rainer-all with Jewish roots-found themselves at the epicenter of this upheaval. Each, in her own tenacious, humorous, and critical way, created a radicalized vision for dance, dance making, and, ultimately, for music and the visual arts. Placing the body and performance at the center of debate, each developed corporeal languages and methodologies that continue to influence choreographers and visual artists around the world to the present day, enabling a critical practice that reinserts social and political issues into postmodern dance and art. Published in association with the Art, Design & Architecture Museum, University of California, Santa Barbara. Exhibition dates: Art, Design & Architecture Museum, University of California, Santa Barbara: January 17-April 30, 2017 New York Public Library for the Performing Arts: May 24-September 26, 2017.
(source: Nielsen Book Data)9780520293366 20170605
Green Library
309 p. : ill. ; 22 cm.
Art & Architecture Library (Bowes)
2 videodiscs (131 min.) : sd., col. with b&w sequences ; 4 3/4 in. + booklet 63 p. : ill. ; 18 cm.
  • disc 1: After many a summer dies the swan (31:00)
  • Rainer variations (41:30)
  • disc 2 : Trio A (10:30)
  • Hand movie (5:00)
  • Volleyball (Foot Film) (10:00)
  • Rhode Island Red (10:00)
  • Trio Film (13:00)
  • Line (10:00).
Collection of recent works by or about performer, filmmaker, and choreographyer Yvonne Rainer.
Art & Architecture Library (Bowes)
ix, 224 pages : illustrations (some color) ; 26 cm
Offering an incisive rejoinder to traditional histories of modernism and postmodernism, this original book examines the 1960s performance work of three New York artists who adapted modernist approaches to form for the medium of the human body. Finding parallels between the tactility of a drip of paint and a body's reflexive movements, Elise Archias argues convincingly that Yvonne Rainer (b. 1934), Carolee Schneemann (b. 1939), and Vito Acconci (b. 1940) forged a dialogue between modernist aesthetics and their own artistic community's embrace of all things ordinary through work that explored the abstraction born of the body's materiality. Rainer's task-like dances, Schneemann's sensuous appropriations of popular entertainment, and Acconci's behaviorist-inflected tests highlight the body's unintended movements as vital reminders of embodied struggle amid the constraining structures in contemporary culture. Archias also draws compelling comparisons between embodiment as performed in the work of these three artists and in the sit-ins and other nonviolent protests of the era.
(source: Nielsen Book Data)9780300217971 20170123
Green Library
1 videodisc (82 min.) : sound, color ; 4 3/4 in. + 1 bonus videodisc Sound: digital; optical. Digital: video file; DVD video; all regions.
  • [Disc 1]: Documentary feature (82 min.) ; [Disc 2]: Additional interviews: Yvonne Rainer
  • Simone Forti
  • Steve Paxton
  • Carolee Schneemann
  • Lucinda Childs
  • Valda Setterfield
  • Douglas Crimp
  • Carrie Lambert-Beatty
  • Spiraling Down [entire performance of piece by Yvonne Rainer performed at REDCAT, Los Angeles, CA, June 26, 2009] (30 min.)
"[This film] tells the riveting story of one of America's most important artists. In 1962, as a founding member of Judson Dance Theater, Rainer, revolutionized modern dance by introducing everyday movements like walking and running into the dance lexicon. Abandoning choreography in the '70s, Rainer introduced narrative techniques into American avant-garde film, turning that genre on its head, too. [W]e follow Rainer, returned to choreography, as she continues to create vibrant, courageous, unpredictable dances that invite audiences to question basic assumptions about art and performance"-- Container.
Art & Architecture Library (Bowes), Media & Microtext Center
4 linear feet
Finding aid
Online Archive of California
Videotaped interviews with over 40 artists, critics, historians, and curators for the film Women Art Revolution, documenting the development of the Feminist Art Movement from the 1970s through 2013.
Special Collections


Journal articles, e-books, & other e-resources
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