Index
Abstract Expressionism, 3, 10, 11, 37, 38, 90, 138, 140, 187n10
Greenberg on, 39–40, 90, 187n25. See also specific artists
abstraction, 2–3, 9–22, 65, 74, 135, 163, 164–165
Acconci and, 134, 135–140, 143 156, 159, 163
capitalism and, 9, 134, 164, 185n40
conceptual art and, 131, 159
Debord and, 22, 24–26
embodiment as, 17–18, 26, 83, 159, 163
language as, 136, 137
Lefebvre’s discussion of, 14–16
Marx and, 164–67
material accident as source of, 2, 12, 90, 134, 168
minimalism and, 69, 74
modernist poetry and, 136–37, 199n37
painting and, 35–37, 65, 88, 88–93, 119, 140
Paxton and, 61
photography and, 28
Rainer and, 30, 34, 65, 74
Schneemann and, 81, 82, 88–93, 134, 135
Spiraling Down and, 181–82. See also specific artists
accident. See abstraction: material accident as source of
Acconci, Vito, 122–163
abstraction and, 134, 135–140, 143, 156, 159, 163
antibehaviorism and, 157–159
conceptual art and, 130–132, 139–40, 142–143, 160, 163
criticism for Artnews, 139–40
dialectic between structure and physicality, 13, 18–19, 130, 139
education, 135
and embodiment, 26–27, 159–60, 162
and everyday life in art, 160
John Gibson Gallery exhibition, 155–56
and Johns’ work, 138–39
and language, 137–40, 199n42
and minimalism, 144
modernism of, 128, 132, 139, 156, 160
performance of symptom, 6, 20, 23, 25–26, 129
poetry, 135–139
poststructuralism and, 129–30, 133
and Pound, 135–36, 138, 139, 156
Software exhibition, 151
Street Works exhibition, 141–43, 145–47, 152
WORKS: Blindfolded Catching, 122–25, 77
Centers, 153–54
Conversions, 163
Following Piece, 145–47, 156, 159, 89, 90, 91
Hand & Mouth, 122–23, 126–27, 154, 79, 97
Lay of the Land, 144, 88
Performance (Sitting, Undergoing, Going Under), 147, 93
Performance Test, 147–48, 94
Points, Blanks, 143–44
Proximity Piece, 151, 159, 99, 100
Run-Off, 150–51, 98
Seedbed, 163
A Situation Using Streets, Walking, Glancing, 141
A Situation Using Streets, Walking, Running, 141, 156, 85
Soap & Eyes, 5–6, 122–23, 125–26, 4, 78
“Some Notes on Activity and Performance,” 154–56, 158
Specification Piece, 122, 159, 127–29, 132, 148, 149, 151, 159, 80
Step Piece, 148–49
95, 96
Supply Room, 163
35 Approaches, 151–53, 159, 101, 102
3 Adaptation Studies, 122–129, 132, 140, 149, 76
Twelve Pictures, 143, 159, 87
Untitled poem (1968), 136–137
adaptation, 13, 128, 129, 155, 156, 157, 158, 197n3&n4, 198n30. See also Acconci, Vito: 3 Adaptation Studies
Adorno, Theodor, 11, 31, 74
advertising, 3, 5, 9, 22, 26, 41, 80
aesthetic, the, 29, 166–67
Alexander, Robert, 30, 33, 16, 46
All of Me (film), 175–177, 180, 114
Althusser, Louis, 129, 132
Arnold, Becky, 45
art history. See history of art
Ames, Van Meter, 9–10
Andre, Carl, 130, 81
antibehaviorism, 157–58, 159
appropriation, 13
in Levine’s work, 180
for Marx, 166–67
sensuous, 83, 166
for Rainer, 170–71, 176–78, 180–81, 202n11
Architectural League, 141, 145
Artaud, Antonin, 84, 117, 196n105&n106
Art & Language, 139
Art and Literature, 139, 199n43
Artnews, 50, 139, 140, 199n48
ASCO, collective, 26
Ashbery, John, 139, 199n43
Ashton, Jennifer, 136, 137, 199n37
assemblage, 87, 91, 93
Auffrey, Danielle, 102
autonomy, 31, 57, 179. See also distance between art and life
Avalanche Magazine, 31, 129, 197n2
avant-garde art, 3, 7, 10, 20, 53, 80, 117, 118
Bach, Johann Sebastian, 64, 98, 194n64
Baker, Ella, 18
Balanchine, George, 168
ballet, 102, 168, 174, 177, 178, 179, 183n5, 203n31
Paxton’s relationship with, 58, 59
Rainer’s relationship with, 40, 44, 50, 71, 168, 188n33, 190–91n128
Schneemann’s relationship with, 94, 95, 99–100
Banes, Sally, 19, 20, 23, 40, 98
Barbara Gladstone Gallery, New York, 152
Barber, Samuel, 43
Barry, Robert, 52, 159
Barthes, Roland, 28
Baryshnikov Arts Center, 171, 106, 110, 111
Baryshnikov, Mikhail, 168, 177, 187n8
beach movies and television, 80, 115, 191–92n9, 74
Meat Joy references to, 103, 109
beatnik culture, 123
behaviorism, 157, 158. See also antibehaviorism
Berenson, Paulus, 53
Berkeley, Busby, 81, 107, 119
Berlioz, Hector, 53, 61
Bernhardt, Sarah, 175, 180
Bikini Beach (film), 191n9, 74
black power movement, 131
Bladen, Ronald, 37, 19
Bochner, Mel, 132, 83
body, the, 83, 85, 167
abstract art and, 74, 76
in Acconci’s Untitled poem (1968), 137
aging, 174
for antibehaviorism, 158
in Butler, 15–17, 129–30, 133
in Childs’ work, 94, 95
in civil rights movement protest, 18, 19
collapsing/exhausted, 130, 132, 149, 153–54, 155
concrete, 17, 19, 28, 135, 160, 163, 186n66
in consumer culture, 77, 115
in Cunningham’s work, 43, 53, 179
dancer’s, 47, 57, 94–95
everyday or ordinary, 2–3, 13, 19, 57, 63, 74, 76, 81–82, 94, 95, 101, 102, 115, 119, 171
everyday or ordinary (for Paxton), 59–61, 63
everyday or ordinary in Rainer’s work, 30, 35, 63, 65, 71, 76, 171, 174
“explicit,” 186n66
for Foucault, 81, 129–30
gendered, 176–77, 178
for Graham, 41–42, 76
in Halprin’s work, 57, 189n88
and identity, 27, 181
and language, 16, 95–96, 99–100, 133, 140, 197n10
in Lefebvre’s writings, 14, 16, 191n2
limits of, 127, 130, 140, 144, 154, 158, 159, 163
as material in Acconci’s art, 140, 144, 149–53
as material in art, 2, 10–12, 19, 28–29, 31, 71, 162, 168
as material in Rainer’s art, 33, 62–63, 71–72, 73, 74, 168
as material in Schneemann’s art, 81–82, 88, 93, 96, 97, 101, 102, 115, 119
as matter, 7, 31, 70, 73–74, 81, 114–15, 156
minimalist, 35, 70
in modernism, 36
in modernist art, 6–7, 38, 87, 179
in Piper’s work, 160–62
and photographic media, 28–29, 30, 174, 181
for Reich/Reichians, 79, 81, 85, 194n49, 193n37
Schneemann’s writing about, 85, 88
as sign or signifying, 15, 41–42, 47, 52, 63, 74, 86, 94, 95, 101, 103, 106, 112, 119, 121, 133, 135, 137, 139, 149, 157, 170, 181
skin color, 162
spasmodic, 156
structured by culture, 77, 79, 80, 81, 132, 133, 159
unintended movement of, 6, 10, 13, 53, 81, 94, 106, 112–13, 115, 119, 156–57, 159, 194n49
unintended movement of, in Acconci, 122, 123–24, 126, 127, 129, 140, 149–51, 154, 155, 156–59, 163, 201n87
unintended movement of, in Rainer, 26, 33, 35, 53, 62–63, 71–73, 181
unintended movement of, in Schneemann, 5, 81, 99, 101, 102, 115, 119. See also specific performance artists
“body art,” 131, 156, 198n20
Bowles, John, 160
Brecht, George, 117
Brook, Peter, 118
Brown, Helen Gurley, 192n9
Brown, Trisha, 47, 53, 94, 98, 183–84n18, 189n90, 30, 33
Brown, Wendy, Politics Out of History, 162
Bruce, Lenny, 170
Bryan-Wilson, Julia, 187n8
Buchanan, Nancy, 26
Buck-Morss, Susan, 29
Burton, Scott, 147
Ear Piece, 145
Individual Behavior Tableaux, 200n69
Self-Work: Dream, 145, 92
Butler, Judith, 17, 129–30, 133, 134, 181
the body, 15–17
Bodies that Matter, 15–16
Gender Trouble, 16, 158, 181, 186n66
Cage, John, 8, 9, 30, 45, 56, 59, 94
critical responses to, 10
Fontana Mix, 45–46, 27
Suite for five, 179
Variations V, 58
capitalism, 19, 26, 27, 163, 166
abstractions of, 134
Debord’s critique of, 22, 185n56
in Fer’s The Infinite Line, 198n27
Catterson, Ideen, 175, 113
Catterson, Pat, 169, 171, 175, 177–78, 187n8, 203n31, 106, 111
Centre Américain des Artistes, 101, 117
Certeau, Michel de, 170
Cézanne, Paul, 7, 8, 10, 11, 15, 83, 87, 187n25
WORKS: Madame Cézanne, 6, 5
Mont SainteVictoire Seen from Les Lauves, 9
civil rights movement protest, 3, 18, 162, 11, 105
Chew, Sandra, 102
Childs, Lucinda, 95–96, 98, 99–100, 189n90, 37, 56
Carnation, 94, 55
Chomsky, Noam, 157, 158, 159
Clark, T. J., 7–8, 19, 24, 74, 39, 74, 203n37
Coates, Emily, 169, 177–78, 203n31, 106, 109, 111
Cohen, Robert D., 102
Cold War, 11, 12
communism, 165–67
conceptual art, 130–33, 134, 139, 140, 142, 145–47, 167, 184n39
Acconci within, 11, 12, 134, 143
concrete, the, 2, 16, 186n66
art and, 19, 31, 36, 87, 88, 133, 134, 164–65, 167
in Johns, 138–39
in Reich, 86, 194n49
concrete poetry, 11, 135
Corner, Philip, 94, 97, 57
Court, Paula, photographs, 106, 111
Crary, Jonathan, 23
Cubism and Cubist painters, 10, 37, 39, 183n5
Cunningham, Merce, 41, 43, 45, 47, 58, 60, 101
company, 57, 101
Paxton and, 57–61
Rainer and, 52–53, 61, 179–80
Studio, 184n20. WORKS: Antic Meet, 35
Collage, 58
Suite for five, 171, 179, 180
Variations V, 58
Dada, 116. See also Schwitters, Kurt
Darwin, Charles, 157, 201n93
Davis, William, 64–65, 1, 38
de Kooning, Willem. See Kooning, Willem de
Debord, Guy, 20–22, 23, 75, 130
Society of the Spectacle, 20, 22, 24–26, 74, 160, 163
Delanghe, Gay, 45
Delany, Samuel R., 184n40
Denis, Romain, 102
desire, 25, 160, 182
in Acconci’s work, 13, 26, 127, 128–29, 133, 134, 135, 140–43, 145–47, 151–54, 159, 163
as concrete/social, 16, 19, 24, 27, 75, 134, 163, 164
erotic/sexual, 26, 77, 80, 191n2
for form, 36
in Schneemann’s understanding of her work, 102, 103
in Skinner/behaviorism, 157
dialectic between structure and physicality, also dialectic between abstraction and particularity, also dialectic between concept and feeling, 2, 8, 13, 18–19
in Acconci’s work, 130, 139
in Cunningham’s work, 179
in Lefebvre, 15
in Marx, 165
in modernist abstract painting, 36, 37–38
in Pollock, 8, 39–40, 73–74
in Rainer’s work, 73–74, 76, 176, 181–82
in Schneemann’s work, 102, 105, 119
Dine, Jim, 12, 91, 119
Dio, Harry de, 169
distance between art and life, 2, 10, 31, 40, 66, 94–95, 178. See also autonomy
Duchamp, Marcel, 116
Dunn, Robert (Bob)
classes, 45–46, 53, 57, 59–60
Dwan Gallery, 122, 127, 132
Dworkin, Craig, 135, 197n10, 199n42
earthworks artists, 156
embodiment, 133, 171, 186n65
as an abstraction, 17–19, 26–28, 83, 159, 162–163
in Lefebvre, 14, 16
Emerson, Ruth, 98, 99–100, 194n73
Engels, Friedrich, 197n4
ethology, 158
everyday life, the everyday, 17, 52, 65, 82, 83, 164, 179, 183n5
in art of 1960s, 1–3, 8–10, 26, 41, 65, 88, 143, 157
in art history of 1960s art, 19–20, 184–85n40
the body and, 13, 30, 63, 74, 81, 160, 163
for Certeau, 170
Debord’s critique of, 20, 22, 25–26
for Lefebvre, 14–16, 18–19, 22, 25, 76
in minimalism, 68. See also the body: everyday or ordinary
the body: consumer culture
distance between art and life
non-art
ordinary movement, in Paxton’s work
under specific artists
expression, expressionism, expressionist, 6, 41, 86, 116, 127, 156
for Adorno, 31, 74
anti-, 30
“Conceptual,” 156
in dance, 33, 40–43, 47, 72–73
in Darwin, 201n87
Festival of Free Expression, also Workshop of Free Expression, 84, 101–2, 116, 117, 195n85
hyper-, 75, 172
impassive/impersonal, 62, 64, 70, 71, 129
involuntary, 50, 52, 101, 112, 154
of materials, 10, 11, 118
nontraditional, 40, 43, 45, 47–48, 63, 139, 154, 183n10
refusal of, 52, 56–57, 60–61, 67, 69, 75–76, 201n85
self-, 133
trauma and, 26. See also Abstract Expressionism
desire
Farocki, Harun, 203n20
feeling, 9, 18, 35, 76, 197n10, 201n87
art and, 127, 139–40, 151
and advertising, 41
in Greenberg’s criticism, 2, 10, 39–40, 61–62, 160, 188n26
in Rainer’s work compared with Paxton’s, 63–64
and spectacle, 181
feminism, 15, 26, 94, 130–31, 192n12
Acconci and, 130–31, 159, 160, 163 Butler’s, 15
Johnston’s, 118
performance art, 186n66
Rainer’s, 163, 168, 203n28
Schneemann’s, 82–83, 119, 121, 163, 192n19&22
Festival of Free Expression. See under Lebel, Jean-Jacques
Firestone, Shulamith, 130, 194n66, 197n4
Fleming, Sherman, 26
Fluxus artworks, 9, 94
Forti, Simone, 53, 57, 68
See-saw, 50, 68, 29
Foster, Hal, 185n59
Foster, Susan Leigh, 43, 63
Foucault, Michel, 26, 80–81, 88, 118, 129–30, 158, 162, 185n60, 191n2
Frampton, Hollis, 46, 52
Franko, Mark, 188n30&n49
Fried, Michael, 69, 90
Friedan, Betty, 77
The Feminine Mystique, 80
Gaisseau, Pierre Dominique, 102
gender, 16, 66, 80, 83, 168
in Acconci’s work, 133, 148, 152, 160, 163
in All of Me, 176
in Meat Joy, 26, 114–15
in Paxton’s Word Words, 61. See also Butler, Judith: Gender Trouble. See also under body, the
gesture, 13, 18–19, 32–33, 74, 87–88, 135, 137, 181
Getty Research Institute, 48, 188–89n52, 202n16
Geyer, Andrea, photograph, 110
Gibson, John, 147, 200n74&n78
John Gibson Gallery, 155–56
Giese, Al, 98, 112
photographs, 1, 3, 28, 33, 38, 47, 48, 58, 65, 68, 69, 70, 75
Gochenauer, Stanley, 102
Goffmann, Erving, 198n22
Goldensohn, Barry, photographs, ii, 14, 44
Gordon, David, 33, 187n8, 15
Graham, Martha, 11, 12, 41–42, 57, 60, 188n30&n38, 23
Rainer’s relationship to, 11, 40–45, 47, 52, 76
School, 11, 42
WORKS: Cave of the Heart, 43, 24, Clytemnestra, 43
Green Gallery, 68, 39, 41
Greenberg, Clement, 2, 7, 61, 160
critique of non-art, 10, 11
on modernist painting, 39–40, 90, 187n25, 199n43
Gross, Sally, 53, 32, 37
Group for Research on Everyday Life, 22
Halprin, Anna, 30, 45, 47, 53, 56, 57
Hammons, David, 26
happenings, 9, 116, 193n27&28
by Kaprow, 3, 19–20, 94, 183n15, 12
by Lebel, 117
Schneemann and, 11, 12, 84, 95, 98, 102, 118–19, 195n82
by Vostell, 117
Hay, Alex, 32, 37
Hay, Deborah, 59, 95, 98, 99, 189n65, 32, 37, 56
Held, Al, 11, 12, 37–39
WORKS: Untitled (1950–52), 37–38, 20
Untitled (1956), 38, 21
Hesse, Eva, 83, 155
Higgins, Dick, 194n66
history, 8, 15, 19, 26, 28, 133, 162, 171, 181
Acconci’s, 135
art as representative of, 6
of black Americans, 162
dance, 43, 50, 174, 188n30
Firestone on, 197n4
Graham’s, 41
Lefebvre on, 76
Marx on, 165–66, 182
modernist past, 11, 39, 73, 92, 186n62
natural, 31
present period, 27
Rainer’s, 36, 53, spectacle and, 185n56. See also Foucault, Michel
history of art, art history, 9, 12, 20, 35, 39, 163, 186n66
Hoffbauer, Patricia, 48, 169, 177–78, 106, 109, 111
humanism, 166
Hutchins, Claudia, 102
illegibility, 35, 71, 74
impersonality, 10, 40, 139, 180
in Acconci’s work, 129, 134, 156–57, 159–60, 163
in modern dance, 11–12, 41–42, 47, 188n30
in Rainer’s work, 30, 77
in Schneemann’s work, 88, 119
Impressionists, 88, 187n25
Index, indexical, 168
cards, 8, 139
Information show at MoMA, 122, 132
Interfunktionen, 130, 154, 81
Internationale Situationniste, 116
involuntary movement. See body, the: unintended movement of
Jackson, Betsy, photographs, 89, 90
Jepson, Warner, photographs, 25, 26
Jewish Museum, New York, 138, 151, 183n13, 99, 100
John Gibson Gallery. See under Gibson, John
Johns, Jasper, 137–39, 156, 199n42
WORKS: Fool’s House, 91–92, 53
Target with Plaster Casts, 138, 84
Johnston, Jill, criticism: on Cunningham, 58
on Rainer, 62, 63–65
on Schneemann, 98–99, 118–19
Jones, Amelia, 28
Joseph, Branden, 23
Judd, Donald, 2, 68, 185n59
Judson Dance Theater, Judson Dance Workshop, 23, 53, 63, 69, 94, 98, 100, 102
influence of, 168, 177
Judson Memorial Church, 12, 53, 102, 191n3, 1, 3, 15, 33, 36, 38, 40, 47, 48, 55, 58–73, 75
Kahn, Doug, 196n106
Kaprow, Allan, 3, 8, 12, 38, 39, 88, 119, 183n14, 193n28
art historical account of, 19–20
The Courtyard, 19–20; 94, 12
King, Martin Luther, 83, 130
Kinsey, Alfred, 80
Klein, Melanie, 185–86n60
Klein, Yves, 103–4
Koestler, Arthur, 157
Kooning, Willem de, 11, 187n25
Kosuth, Joseph, One and Three Chairs, 132, 134, 82
Kotz, Liz, 140
Krauss, Rosalind, 67, 185n59
Kupferberg, Tuli, 191n3
Lacy, Suzanne, 26
Lambert-Beatty, Carrie, 19, 20, 23, 28, 34
language, verbal, 16, 35, 74, 76, 88
in art, 95, 100, 122, 128–29, 132–33, 139, 140, 165, 183n5
in Marx on the aesthetic, 166–67. See also under abstraction
Acconci, Vito
body, the
language poetry, 136–37
League for Sexual Freedom, 191n3
Lebel, Jean-Jacques, 83–4, 117, 119, 193n28&n32, 196n107
Festival of Free Expression, Workshop of Free Expression, 84, 101–2, 116, 117, 195n85
Lefebvre, Henri, 14–16, 18–19, 76, 77, 82, 132, 134, 191n2
Debord and, 20, 22, 24, 25, 130
lesbian sexuality, 15, 118, 168, 203n28
Levine, Sherrie, 168, 180
Lewin, Kurt, 197n3
LeWitt, Sol, 134, 139, 140, 155, 200n75
Linker, Kate, 197n10, 198n21
Lippard, Lucy, 68, 139, 184n39, 192n19
literalness, 2, 7, 8, 10, 12, 136, 186n66
in Acconci’s work, 127, 135–7
minimalist, 67, 68, 70
in Reich, 79
in Schneemann’s painting, 90, 93
Living Theatre, 97, 193n28, 57
Lloyd, Barbara, 45
Loeb Student Center, NYU, 147, 93
Lorenz, Konrad, 158
On Aggression, 158
Lowen, Alexander, 85–86
McClure, Michael, 84, 117
McDowell, John Herbert, 60
McElroy, Robert, photographs, 95, 29, 56
Mahaffay, Marni, 53
Malevich, Kasimir, 35–36
Suprematist Painting, 17
Malinowski, Bronislaw, 80
Manet, Édouard, 7
Marcuse, Herbert, 10, 11, 80
Marks, Marcia, 47, 48, 50, 51
Martha Graham School. See under
Graham, Martha
Martin, John, 40, 42
Martin, Mark, 17, 11
Martin, Ronald, 17, 11
Martin, Steve, 169, 175–77, 114
Marx, Karl, 25, 79, 83
on the aesthetic, 166–67, 180
historical method, 165–66, 182
“To Jenny,” 164–165
Marxism, 7, 24
materiality, matter. See under body, the. See dialectic between structure and physicality
Matisse, Henri, The Dance, 179, 180, 181, 117
Mauss, Marcel, 174
Mayer, Bernadette, 150, 199n43, 98
medium. See body, the: as material in art
Clark, T. J.
Meltzer, Eve, 74, 132, 140
memory, 20, 116, 171
mental illness, insanity, 48, 51, 52, 53, 73
Meyer, James, 185n59
minimalism, 10, 66–70, 144, 185n59, 190n118, 43. See also specific minimalist artists
Mitchell, Jack, photograph, 35
Mitchell, Joan, 2
modern dance, 11, 40, 57, 59, 71, 94, 168, 177. See also Graham, Martha
Cunningham, Merce
modernism, 8, 10, 11, 16, 24–25, 36, 41, 83. See also under Acconci, Vito
body, the
Rainer, Yvonne
Schneemann, Carolee
modernist art, 2, 3, 6–8, 12, 13, 15, 28, 36–37, 52, 83, 164, 166, 168, 179
poetry, 139
postmodernist critique of, 180. See also abstraction: in modernist poetry
abstraction: in painting
Clark, T. J.
dialectic between structure and physicality
Greenberg, Clement
impersonality
modern dance
Pound, Ezra
specific artists
modernist models, persistence of, 25, 26, 31, 39, 40, 73, 134
in Johns, 139
Moore College of Art in Philadelphia, 122, 151, 101, 102
Moore, Lillian, 47, 48, 51
Moore, Peter, 53, 63, 101, 112, 113
photographs 15, 32, 34, 37, 40, 45, 55, 59, 60, 62, 71, 73, 92, 108
Morris, Robert, 8, 12, 44, 53, 66–70, 71, 73, 145
as performer, 50, 63, 29, 32 37
WORKS: Column, 68, 189n65, 42
Untitled (Table), 39; Green Gallery exhibition, 41
Mumma, Gordon, 190n95
Murakami, Haruki, 171–72
Museum of Modern Art (MoMA), 91, 122, 132
Nauman, Bruce, 52
need. See Debord, Guy
Lefebvre, Henri
Marx, Karl
Nemser, Cindy, 131, 132
Nengudi, Senga, 26, 13
New York City, 1, 11–12
New York School painting, 37. See also Abstract Expressionism
Greenberg, Clement
Newton, Richard, 26
Nijinsky, Vaslav, 168, 170, 180
Noblet, Jocelyn de, 85
Noguchi, Isamu, 42, 24
non-art, 8, 10, 53, 93, 95, 180. See also everyday life
Nosei, Annina, 102
O’Donnell, Tom, 102
O’Hara, Frank, 136
O’Keeffe, Georgia, 83
Oldenburg, Claes, 12, 19, 184n40
Ray Gun Theatre performances, 83, 193n28
Oppenheim, Dennis, 156
ordinary movement, in Paxton’s work, 61. See also under Rainer, Yvonne
Owens, Craig, 180
Paik, Nam June, 190n95
painting, 1, 7, 12, 15, 29, 50, 116, 119, 166, 183n5
Acconci reviews of, 139–40
Acconci’s Run-off as, 150–51
Lebel’s, 193n28, 196n109. See also under abstraction
Rainer, Yvonne
Schneemann, Carolee. See also Acconci, Vito: and Johns’ work
Clark, T. J.
dialectic between structure and physicality: in modernist abstract painting
Greenberg, Clement: on modernist painting
specific artists
Patterson, Robert, 17, 11
Paula Cooper Gallery, 143–44
Paxton, Steve, 52, 53, 57–63, 65, 71, 94, 101, 172, 35
performer in Rainer’s work, 33, 1, 15
Proxy, 57–58
Word Words, 60–61, 36
performance art, 2, 8, 12, 13, 14, 26, 157, 184n39
for camera, 124
documentation, 29, 156, 168, 195n91
and minimalist sculpture, 66, 75
and photographic media, 28–29, 143, 144
and poetry, 135
Schneider on modernist art and, 186n66
Stiles on emergency and, 186n64. See also specific performance artists
Péret, Benjamin, 193n28
Perreault, John, 141, 158
Phelan, Peggy, 184n39
photography, 28–29, 31, 58, 71, 132, 144, 163, 174
as choreography source, 168, 170, 171, 172, 178, 180, 181
in Levine’s work, 168, 180
Stimson on, 181. See also performance art: documentation
Picard, Lil, 109
Pierce, Charles Sanders, 201n87
Piper, Adrian, 147, 160
Catalysis, 160–63, 104
Proposal #1, 142–43, 86
Plath, Sylvia, 174
Pollock, Jackson, 11, 73, 76, 196n105
Clark on, 7, 8, 74
Greenberg
on, 10, 39–40, 90
Kaprow on, 88
WORKS: Autumn Rhythm, 39–40, 22
Full Fathom Five,
90, 52
Number 1A, 1948, 7, 8, 7
Shimmering Substance, 35–36, 18
Pommerelle, Daniel, 102
Pop art, 9, 183n13. See also Warhol, Andy
popular culture, 19, 52, 183n5, 192n9;
in Rainer’s work, 169–71, 180, 202n11
in Schneemann’s work, 77, 80, 81, 103, 109, 115, 119
Posner, Irina, 102
postminimalist artists, 155
postmodern dance, 23. See also Halprin, Anna
Paxton, Steve;
Rainer, Yvonne
postmodern, the, 166, 170
Ashton on, 136–37
binaries of, 88, 91, 92, 186n66
critique, 22, 166, 180
deferred real, 28
Kaprow as illustration of, 19–20
literalness of, 136–37
surface emphasis, 181, 185n40. See also Levine, Sherrie
Saar, Betye
poststructuralism, 15, 76, 129–30, 133, 186n66. See also Butler, Judith
Foucault, Michel
post–World War II period, 7, 14, 35, 41, 52
Potts, Alex, 19, 20, 185n45
Pound, Ezra, 11, 135–36, 138, 139, 156, 201n87
Presley, Elvis, music, 103
primitivism, 35, 40–41, 57, 119, 168, 179, 180, 186n65
example of, 9
psychoanalysis, 79, 86, 134, 188n32
Rachmaninoff, Sergei, 48, 50
Rainer, Yvonne, 2, 15, 20, 30–76, 94, 98, 101, 122, 139, 167
abstraction and, 30, 34, 65, 74, 134, 135
appropriation, 170–71, 176–77, 180–81, 202n11
Cunningham and, 11, 41, 43, 45, 47, 52–53, 61, 171, 178, 179–80
dialectic between structure and physicality, 13, 18–19, 73–74, 76, 176, 181–82
embodiment and, 26–28, 162
everyday life in art and, 8, 12, 65, 71, 76
films, 163, 168, 170
Graham and, 11, 40–45, 47, 52, 57, 76
Halprin and, 30, 45, 47, 53, 56–57
Held and, 11, 36–39; “Indexicals,” 168
Johnston’s criticism of, 63–65
Lambert-Beatty’s account of, 20, 23, 28, 34, 202n11
and minimalism, 11, 35, 66–70, 76, 98
modernism of, 2, 10, 11, 12, 31, 40, 57, 65, 73–74, 76, 180–81
Morris’s sculpture and, 66–70
ordinary movement, 52–57
painting and, 36–39, 40, 46, 73
Paxton and, 57, 59, 60–61, 63, 65, 172
performance of mental illness, 47, 52
performance of spastic other, 50–52
performance of symptom, 6, 20, 23, 25–26, 30, 75, 170
as performer in Schneemann’s work, 86, 97, 57
photographic media and, 71, 168–71, 180–81
response to Vietnam War, 28, 30
return to dance in 2000, 168
“tasklike” aesthetic, 15, 30, 31–34, 71–76, 124, 157, 174
WORKS: AG Indexical (with a Little Help from H. M.), 168–69, 202n10
The Bells, 47–48, 190n124
Chair-Pillow, 31
Continuous Project—Altered Daily, 31
The Mind Is a Muscle, 31, 169, 171, 180, 40, 45, 107, 108
Northeast Passing, 31–33, 14, 44
Ordinary Dance, 53, 57
Parts of Some Sextets, 56, 34, Performance Fractions for the West Coast, 31
“A Quasi Survey of Some Minimalist Tendencies …,” 66–67, 69–71, 43
RoS Indexical, 168–69, 202n10; Rose Fractions, 31
Satie for Two, 47, 51, 30
Spiraling Down, 74, 168–182, 202n10&n16, 106, 109, 110, 111, 112, 113, 115, 116, 118
Terrain, 1–3, 5, 31, 53, 56, 63–64, 1, 33, 38
Three Satie Spoons, 43–48, 51–52, 57, 188n52, 25, 26
Three Seascapes, 47–51, 53, 65, 194n66, 28
Trio A (The Mind is a Muscle, Part I), 23, 30, 31, 33–34, 43, 65, 66, 71, 73–75, 122, 169–71, 178, 181, 187n8, 10, 15, 16, 46
Trio A with Flags, 31
WAR, 31
We Shall Run, 53, 56–57, 60–63, 73, 31, 32, 37. See also Judson Dance Theater
Ratner, Judy, 86, 97, 193n45, 194n66
REDCAT theater, Los Angeles, 171, 178, 113
Rauschenberg, Robert, 12, 58, 63, 183n13, 185n56, 189n90
as performer, 63, 32, 37
Collection, 91–92, 54
Ravel, Maurice, 174
Reich, Wilhelm, 76, 79–83, 85–86
Schneemann and, 88, 97, 98, 119
Reichians, 76, 83, 85, 191n3, 193n34, 193n37. See also Lowen, Alexander
Renoir, Rita, 102, 195n84
Restany, Pierre, 86, 195n84
Richard, Claude, 102
Robinson, Paul, 86, 191n3
rock and roll, 77, 85, 116
Rockburne, Dorothea, 102, 69
Rodenbeck, Judith, 19–20
Rodin, Auguste, 10, 83
Walking Man, 6, 6
Romanticism, 118, 127, 136, 148
Rosenberg, Harold, 38
Rosler, Martha, 26
Rothlein, Arlene, 98, 194n66&n73
Saar, Betye, 168
Sabado, Keith, 171, 178, 109
Sadler, Simon, 185n50, 186n61
San Francisco Bay Area, 36, 37, 44, 198n20
Sandler, Irving, 187n14
Satie, Eric, 45–48, 51–52, 183n9, 188n52, 25, 26, 30, 57, Sayre, Henry, 192n20
Schapiro, Steve, photograph, 97, 57
Schlichter, Joseph, 32, 37
Schneemann, Carolee, 77–121, 139
abstraction and, 81, 82, 88–93, 134, 135
critical response (negative) to, 115–119
dancers as performers and, 94–96
dialectic between structure and physicality, 13, 18–19, 102, 105, 119
education, 87
embodiment and, 26–27, 162
everyday life/materials in art and, 12, 88, 90–93, 95, 101, 119
feminism, 82–83, 119, 121, 163, 192n19&22
Johnston’s criticism of, 98–99, 118–119
Judson Dance Theater and, 98, 100
modernism of, 81–83, 85, 86–88, 90, 93, 95, 102–3, 104, 119, 121, 186n66
painting practice, 84, 87–93, 95, 98, 101
performance of symptom, 6, 20, 23, 25–26
popular culture and, 77, 78, 81, 103, 109, 115, 116, 119
Reich and, 78–79, 81–83, 85–86, 88, 97–99, 119
sex and, 77–78, 84, 88, 101, 106–7, 119, 121
13, 18–19, 102, 105, 119
writings, 85, 86, 88, 94
WORKS: Chromelodeon, 95–96, 98–100, 101, 56
An Environment for Sounds and Motions (aka Glass Environment for Sound and Motion), 86, 96–98, 57
Eye Body, 118, 192n19
Fuses, 82
Interior Scroll, 82–83
JT and Three Kitch’s, 84, 49
Lateral Splay, 100–101, 59
Meat Joy, 5, 77–78, 81–86, 100–120, 122, 195n83, 3, 47, 48, 60–73, 75
Newspaper Event, 98, 58
Quarry Transposed (Central Park in the Dark), 88–93, 95, 115, 119, 51
Three Figures After Pontormo, 50
Schneider, Rebecca, 28, 186n66, 186n73, 192n22
Schroeder, Manfred, photographs, 66, 67
Schwitters, Kurt, 183n5
sculpture, 1, 7, 12, 29, 64, 75, 138, 183n5
Acconci reviews of, 139
Greenberg on, 39, 183n14&n15
John Gibson Gallery exhibitions, 155
minimalist, 10, 66–70, 73, 144, 185n59, 190n125, 43. See also specific artists
Schechner, Richard, 189n88
Seiler, Jacques, 102, 195n86, 195n89
Seitz, William, 91
Selye, Hans, 123
sensuous, the: in human practice, 2, 7–9, 12, 19, 25, 28, 35–36, 83, 88, 121, 166–167, 179, 186n66
in art, 8, 12, 167
in art of Acconci, 160
in art of Rainer 65, 74, 76, 182
in art of Schneemann, 87–88, 119
in conceptual art, 131–132, 134, 139
Serra, Richard, 155
sexual revolution, 77, 80, 82, 191n1, 191n4, 192n12, 192n23
Shannon, Joshua, 19, 139, 184n40
Sharaf, Myron, 193n34, 193n37
Siegelaub, Seth, 139
Silverman, Kaja, 28, 134
Silvers, Sally, 169, 177–78, 181, 189n52, 203n27, 203n31, 106, 109, 111
Simmel, Georg, 30
Situationists, the, 20, 22, 24, 25, 116, 185n56, 186n62, 196n107
skin color. See under body, the
Skinner, B. F., 157, 159
Small, Millie, 103, 115
Smith, Barbara T., 26
Smith, Michael, 115–116
Smith, Peter Duval, 117–118
Smithson, Robert, 159
social constructionist shift, 11, 158–159, 197n10
Software, Jewish Museum, 151, 99, 100
Solomon, Alan R., 9–10
Sontag, Susan, 20
Soutine, Chaim, 11, 84, 117
spectacle, 16, 20–25, 28, 74–75, 116, 122, 134, 144, 163, 167, 170. See also Debord, Guy
Speeth, Sheridan, 83
Stiles, Kristine, 117, 186n64
Stimson, Blake, 181, 199n51
Stravinsky, Igor, 168
Street Works exhibitions, 141–43, 145, 147, 152, 160, 85, 89, 90, 92
structure. See dialectic between structure and physicality
Student Mobilization Committee to end the war in Vietnam, 144
Sugarman, George, 37
Summers, Carol, 95–96, 99, 194n73, 56
Supremes, The, 103, 115
Surrealism, 116
symptomatic reading of artworks in art history, 19–20, 23, 24. See also specific artists: performance of symptom
tasklike aesthetic. See Rainer, Yvonne: “tasklike” aesthetic
television, 3, 9, 28, 30, 65, 80, 102, 117, 187n1
sexuality on, 80, 192n9
studios, 44, 102. See also beach movies and television
Tenney, James, 83, 86, 94, 98, 102, 192n18, 61, 63
subject of painting, 84, 49
Tharp, Twyla, 177
Thek, Paul, 102
Time magazine, 77
trauma, 26, 52, 162
unintended movement. See body, the: unintended movement of
University of California, Berkeley, 36, 185n45, 187n8, 188n38
University of Strasbourg, 20
VanDerBeek, Stan, 190n95
Vázquez, Adolfo Sánchez, 166, 167
Venice Biennale, 183n13
video artworks, 28, 153, 163, 198n29, 200n73, 103
Vietnam War, 28, 117, 130, 144, 163, 187n1
Village Voice, 44, 62, 98, 115
Vorkapich, Slavko, 175
Vostell, Wolf, 117, 119
vulnerability, 17, 63
in Acconci’s work, 143, 154, 156
of body, 3, 6–7, 14, 30, 63, 82
in modernism, 11
in Piper’s work, 161–62
in Rainer’s work, 33, 35, 63, 76, 176, 178
in Schneemann’s work, 115
in sexual revolution, 80
Wagner, Anne M., 61, 83, 193n25, 198n29, 200n66, 200n73
Warhol, Andy, 8, 9, 145, 155, 8
Waring, James, 188n32, 190n104, 190n112
Watts, Robert, 117, 185n41
White Oak Dance Project, 168, 177, 187n8
White, Michael, 101, 118, 195n82, 197n116
Wijers, Louwrien, 201n85
Wilke, Hannah, 26
Williams, William Carlos, 199n34
Wilson, Ann, 102
Worden, John, 99–100, 195n73
Workshop of Free Expression. See under Lebel, Jean-Jacques
World Performance Project, 171, 202n16
Yam Festival, 117
Young, La Monte, 48, 194n66
Zucker, Harvey, photographs 61, 63, 64