This collection surveys the choreographic turn in the artistic imagination from the 1950s onwards, and in doing so outlines the philosophies of movement instrumental to the development of experimental dance. By introducing and discussing the concepts of embodiment and corporeality, choreopolitics, and the notion of dance in an expanded field, Dance establishes the aesthetics and politics of dance as a major impetus in contemporary culture. It offers testimonies and writings by influential visual artists whose work has taken inspiration from dance and choreography.
Working at the cutting edge of live performance, an emerging generation of artists is employing digital technologies to create distinctive forms of interactive, distributed, and often deeply subjective theatrical performance. The work of these artists is not only fundamentally transforming the experience of theater, it is also reshaping the nature of human interaction with computers.
Move. Choreographing You explores the interaction between visual art and dance since the 1960s. This beautifully illustrated book, published in connection with a major exhibition, focuses on visual artists and choreographers who create sculptures and installations that direct the movements of audiences--making them dancers and active participants. Move shows that choreography is not merely about the notation of movement on paper or in film but about the ways the body inhabits sculpture and installations
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, and 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.
Before publishing his celebrated first novel, Horse Crazy, in 1987, Gary Indiana wrote and directed twelve plays for an informal company whose performers included the painter Bill Rice, composer Evan Lurie, the poet George-Therese Dickenson, writer and film actress Cookie Mueller, Warhol superstar and painter Viva, writer Victoria Pedersen, singer/actress Sharon Niesp, photographer Allen Frame, the legendary Taylor Mead, novelist Larry Mitchell, and others. Performed at the Mudd Club, Club 57, The Performing Garage, and Bill Rice's E.
This ambitious and comprehensive book explores technology’s influence on artistic performance practices in the twentieth and twenty-first centuries. In Entangled, Chris Salter shows that technologies, from the mechanical to the computational--from a “ballet of objects and lights” staged by Diaghilev’s Ballets Russes in 1917 to contemporary technologically-enabled “responsive environments”--have been entangled with performance across a wide range of disciplines.
A runaway at thirteen, a reform-school graduate at sixteen, a performer in the legendary New York City Playhouse of the Ridiculous at seventeen, and an escapee from Andy Warhol's Factory scene at nineteen, Penny Arcade (born Susana Ventura) emerged in the 1980s as a primal force on the New York art scene and an originator of what came to be called performance art. Arcade's brand of high camp and street-smart, punk-rock cabaret showmanship has been winning over international audiences ever since. This autobiographical trilogy of plays represents her at her best.
In the vibrant downtown Manhattan art scene of the late 1970s and early 1980s, the Taiwanese-American artist Tehching Hsieh made an exceptional series of artworks. Hsieh realized five separate one-year-long performances that were unprecedented in their use of physical difficulty over extreme durations and in their absolute conception of art and life as simultaneous processes.
In Closer, Susan Kozel draws on live performance practice, digital technologies, and the philosophical approach of phenomenology. Trained in dance and philosophy, Kozel places the human body at the center of explorations of interactive interfaces, responsive systems, and affective computing, asking what can be discovered as we become closer to our computers—as they become extensions of our ways of thinking, moving, and touching.
"It is my overall concern to reveal people as they are engaged in various kinds of activities—alone, with each other, with objects—and to weight the quality of the human body towards that of objects and away from the super-stylization of the dancer."
—Yvonne Rainer, STATEMENT accompanying The Mind is a Muscle, 1968