Podcast appearances and mentions of Yvonne Rainer

Dance Talk” ® with Joanne Carey and special guest, Artistic Director, Jody Sperling In this episode of Dance Talk, host Joanne Carey chats with Jody Sperling, the artistic director of Time Lapse Dance. They explore Jody's journey into dance, the absolute joy it brings, and the influence of historical figures especially Loie Fuller. The discussion delves into the intersection of dance and science, particularly in relation to climate change and environmental themes. Jody shares insights on the role of costumes in her performances, the experience of dancing, and the importance of community connection. They also touch on the two solo works Jody created in homage to Loïe Fuller, Claire de Lune and Vive La Loïe! (world premiere) on the Paul Taylor Company  for their Lincoln Center Season at the Koch Theater.  Tune in - I am sure you  will find Jody's joy and exuberance infectious! Jody Sperling is A New York City-based dancer-choreographer,who has created more than 50 works. She is considered the world's leading exponent of the style of early modern dancer and performance technologist ⁠Loïe Fuller⁠ (1862-1928). Sperling has expanded Fuller's genre into the 21st century, deploying it in the context of contemporary and environmental performance forms. She is currently Eco-Artist-in-Residence at The New York Society for Ethical Culture. Years of working in Fuller's idiom has influenced Sperling's awareness of the body's relationship with the larger environment. In 2014, she participated in a polar science mission—as the first choreographer-in-residence aboard a US Coast Guard icebreaker—and danced on Arctic sea ice. Her short film Ice Floe, shot during the expedition, won a Creative Climate Award. Following her Arctic experience, her artistic focus has been on engaging with climate creatively. Sperling earned a World Choreography Award nomination for her work on the French feature film “The Dancer” (Dir. Stephanie Di Giusto, 2016 Cannes Film Festival). She is also featured and created a new work for the Fuller documentary Obsessed with Light (Dirs. Sabine Krayenbuehl and Zeva Oelbaum, premiere 2023 Rome Film Fest).  Sperling and company have performed or taught throughout the US and in Bahrain, Canada, France, India, Ireland, Italy, The Netherlands, Nigeria, Russia, and Scotland. She holds a BA from Wesleyan University in Dance and Italian Studies, an MA in Performance Studies from New York University Tisch School of the Arts, and an MFA in Dance from Montclair State University. Sperling and Time Lapse Dance have received commissions from the Vermont Performance Lab with Marlboro College, The University of Wyoming through the NEA American Masterpieces Program, and the Streb Lab for Action Mechanics. Works have been featured in the repertory of The Netherlands' Introdans ensemble and performed by Ice Theatre of New York. Sperling, also a dance writer and scholar, has served on the Board of Directors of the Society of Dance History Scholars (SDHS). Her dance writings have appeared online and in print in Dance Magazine, The Village Voice, The SDHS Conference Proceedings, The International Encyclopedia of Dance, and she has contributed chapters to the books Birds of Paradise: Costume as Cinematic Spectacle (British Film Institute, 2014) and Milestones in Dance in the USA (Routledge, 2022). Prior to founding Time Lapse Dance, Sperling performed as a dancer in the works of other choreographers including Sarah Michelson and Yvonne Rainer.  ⁠⁠⁠ Learn More ⁠www.timelapsedance.com/⁠ Tickets to see Jody's work with the Paul Taylor Company  ⁠https://www.davidhkochtheater.com/tickets-and-events/paul-taylor⁠ Follow “Dance Talk” ® with Joanne Carey wherever you listen to your podcasts.  ⁠⁠⁠⁠https://dancetalkwithjoannecarey.com/⁠⁠ Tune in. Follow. Like us. And Share.  Please leave us review about our podcast!  “Dance Talk” ® with Joanne Carey  "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

Professor Carrie Lambert-Beatty is a contemporary art historian. She holds a joint appointment in the Department of History of Art and Architecture and the Department of Art, Film and Visual Studies at Harvard. She's the author of some of the most influential arts writing of the 21st century, including the award-winning book Being Watched, Yvonne Rainer in the 1960s and the essay, Make Believe: Parafiction and Plausibility (pdf). Carrie is also a co-editor at the illustrious arts theory journal October. Her current research is on 30 years of fiction presented as fact in contemporary art, asking what happens when artworks deceive their audiences? What do the experiences of artists' trickery teach about contemporary ways of knowing? And how can contemporary art help in developing a progressive epistemic set, one able to counter the culture of post-truth and to resist an epistemic return to order?Artworks mentioned:A Tribute to Safiye Behar (2005) by Michael Blum Nike Ground (2003) by Eva & Franco Mattes He Named Her Amber (2007) by Iris Häussler Carrie Lambert-Beatty: What Happens When an Artwork Deceives Its Audience? Faculty page: https://haa.fas.harvard.edu/people/carrie-lambert-beattyWebsite: https://scholar.harvard.edu/lambert-beattyThe Cluster F Theory Podcast is edited by Julian Mayers at Yada Yada.Subscribe on Apple Podcasts: Subscribe on Spotify: Thank you for reading The Cluster F Theory Podcast. This post is public so feel free to share it. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit theclusterftheory.substack.com

Most widely recognized for his paintings that rigorously combine spray paint, stenciled geometric forms, and brushstrokes, the Brooklyn-based artist Adam Pendleton is also known for his “Black Dada” framework, an ever-evolving philosophy that investigates various relationships between Blackness, abstraction, and the avant-garde. Many will recognize Pendleton's work from “Who Is Queen?,” his 2021 solo exhibition at New York's Museum of Modern Art, which he has said was his way of “trying to overwhelm the museum.” This is a natural position for him: His works in and of themselves are often overwhelming. At once political and spiritual, they provoke deep introspection and consideration, practically demanding viewers to look, and then look again.On this episode, he discusses the elusive, multifarious nature of “Black Dada”; “An Abstraction,” his upcoming exhibition at Pace Gallery in New York (on view from May 3–August 16); painting as a kind of technology; and why, for him, jazz is indefinable.Special thanks to our Season 9 presenting sponsor, L'École, School of Jewelry Arts.Show notes:Adam Pendleton[05:00] Joan Retallack[05:00] Pasts, Futures, and Aftermaths[05:22] “Becoming Imperceptible”[07:41] Ishmael Houston-Jones[07:41] Joan Jonas[07:41] Lorraine O'Grady[07:41] Yvonne Rainer[07:41] Jack Halberstam[14:26] Fred Moten[05:22] “Who Is Queen?”[23:50] Hugo Ball's Dada Manifesto[23:50] Amiri Baraka's “Black Dada Nihilismus”[31:14] Isabella Stewart Gardner Museum[31:14] “System of Display”[31:14] “Reading Dante”[34:40] “Adam Pendleton” at Pace Gallery[34:40] “An Abstraction” at Pace Gallery[34:40] Arlene Shechet[34:40] “Adam Pendleton x Arlene Shechet”[40:30] “Blackness, White, and Light” at MUMOK[45:07] “Twenty-One Love Poems” by Audrienne Rich[50:40] “Occupy Time” by Jason Adams[56:04] “What It Is I Think I'm Doing Anyhow” by Toni Cade Bambara[57:13] “Some Thoughts on a Constellation of Things Seen and Felt” by Adrienne Edwards

In a novel departure from their “special relationship” to classical and experimental music, Alec and Nick take up the topic of Interpretive Dance as a discursive foil to their ongoing inquiries into music. The duo give bewildered accounts of the aesthetic experience of interpretive and experimental dance performances—and ask basic questions: are music and dance the same thing? Sibling rivals? Two towers? Or, why does interpretive dance often evoke laughter, humiliation, or come across as potentially overstated and ridiculous? How would would you choose to express yourself through dance? The conversation also recounts comfortable and joyous experiences of dancing and probes critical assumptions and entrenchments within the music/dance dichotomy. The conversation touches on John Cage and Merce Cunningham, The Club, musical theater, Yvonne Rainer, Simone Forti, ethnomusicological accounts of movement and music, improvised music, ballet and classical music, music and dance's extensions into visual culture, Kim Gordon's new album, and more.

"Tell, No Show" is an ongoing series of works for radio in which we ask an artist to present a piece of art that has, in one way or another, had an impact on their practice. In this second episode, you will have the pleasure of listening to artist Jeuno Kim, who will introduce us to a performance only experienced once, quite some time ago, by the American artist, filmmaker, and choreographer Yvonne Rainer, under the title "Again? What Now?” performed by the Swedish dance company Weld at Malmø Kunsthal. This episode is therefore an exercise in both memory and an attempt to transform a durational physical experience into a coherent piece of language. Through shifts in texts, mediums, career paths, and ways of loving, Jeuno takes us through the importance of good teachers, privilege, ice skating, coming out later in life, as well as the unfortunate piece of music, “Bolero." Jeuno Kim is an artist, filmmaker, and feminist theologist. She is also the head of the MBA program at the Academy of Fine Arts in Copenhagen. "Tell, No Show" is produced and edited by Jan Høgh Stricker from the Lake Radio and Andreas Führer from Institut Funder Bakke, with the kind support of Statens Kunstfond and Bikuben Fonden.

O CENTÉSIMO SEPTAGÉSIMO QUARTO episódio do Podcast Dar Voz A esQrever

In May 2023, Laura Mulvey and Rod Stoneman returned to Falmouth 45 years following a weekend of Independent Film and Sexual Politics to reconvene a dialogue about politics, experimental film, cinematic form and radicalism. The event, Falmouth Film Weekend [1978 Revisited], was hosted by Falmouth University's Sound/Image Cinema Lab, and was delivered by Neil, in consort with staff and student colleagues. The weekend was a mix of screenings, seminars and talks, the latter by Laura and Rod. Filmmakers whose work was screened included Kenneth Anger, Yvonne Rainer, Stephen Dwoskin, Barbara Hammer and Laura Mulvey and Peter Wollen. The programme reached back to the original line-up as well as updating it with filmmakers from that period whose work has become so important to understanding of the era, such as Carolee Schneeman, and those who followed that radical moment, such as Isaac Julien. This episode collects Laura's incredible talk, both reflective and critical, looking back and forward simultaneously, and shares it for Cinematologists listeners. Dario gets excited by the intellectual questions posed by the talk and he and Neil discuss form and content, ideology, the digital and its radical potentialities. It was an honour to listen to Laura Mulvey and Rod Stoneman, key figures in film theory and history, and it's an honour to share their talks via the podcast. Rod's can be found on our website via this link. The only reason it isn't shared on the main feed is due to the desire to contain the episode to a single release. -----   NB: The ‘Graeme' Laura refers to is Graeme Ewens, a Falmouth based former member of the London Filmmaker's Co-operative, who was in attendance for the weekend. --- You can listen to The Cinematologists for free, wherever you listen to podcasts: click here to follow. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: https://www.patreon.com/cinematologists. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and sharing on Social Media is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists' Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass & guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing 

City Lights presents Douglas Kearney reading from his new book and in conversation with Tisa Bryant. Douglas Kearney celebrates his collection of lectures "Optic Subwoof" published by Wave Books. This virtual event was hosted by Peter Maravelis. You can purchase copies of "Optic Subwoof" directly from City Lights here: https://citylights.com/optic-subwoof/ Douglas Kearney has published seven poetry collections, including "Sho" (Wave 2021), which was a finalist for the National Book Award, PEN Award, and the Kingsley Tufts Poetry Award, and "Buck Studies" (Fence Books, 2016), winner of the Theodore Roethke Memorial Poetry Award, the CLMP Firecracker Award for Poetry, and the California Book Award silver medal for poetry. M. NourbeSe Philip calls Kearney's collection of libretti, "Someone Took They Tongues" (Subito, 2016), “a seismic, polyphonic mash-up.” Kearney's "Mess and Mess and" (Noemi Press, 2015), was a Small Press Distribution Handpicked Selection that Publisher's Weekly called “an extraordinary book.” He has received a Whiting Writer's Award, a Foundation for Contemporary Arts Cy Twombly Award for Poetry, residencies/fellowships from Cave Canem, The Rauschenberg Foundation, and others. Kearney teaches Creative Writing at the University of Minnesota–Twin Cities and lives in St. Paul with his family. Tisa Bryant teaches fiction and non-fiction, mythologies, cross-cultural/cross-genre/hybrid writing, and much more at Calarts. She is the author of the book "Unexplained Presence" (Leon Works, 2007), her first full-length book, is a collection of original, hybrid essays that remix narratives from film, literature and visual arts and zoom in on the black presences operating within them. An excerpt from her novella, "[the curator]", was published by Belladonna Books in 2009, in a companion volume with writer Chris Kraus. She is also the author of the chapbook, "Tzimmes" (A+Bend Press, 2000), a prose poem collage of narratives including a Barbados genealogy, a Passover seder and a film by Yvonne Rainer. She is interested in archives, hybrid forms, mythologies, ethnicity and innovation, the interdependence of experimental and conventional fiction, cinematic novels and ekphrastic writing. Bryant's writing has appeared in "Evening Will Come", "Mandorla", "Mixed Blood", "in the ‘zine", "Universal Remote: Meditations on the Absence of Michael Jackson" and in the catalogues and solo shows of visual artists Laylah Ali, Jaime Cortez, Wura-Natasha Ogunji and Cauleen Smith. She is co-editor, with Ernest Hardy, of "War Diaries", an anthology of black gay male desire and survival, from AIDS Project Los Angeles, which was nominated Best LGBTQ anthology by the LAMBDA Literary Awards. She is also co-editor/publisher of the hardcover cross-referenced literary/arts series, "The Encyclopedia Project", which recently released Encyclopedia Vol. 2 F-K. This event was made possible by support from the City Lights Foundation: citylights.com/foundation

Happy Birthday to Yvonne Rainer and Bruno Tonioni! --- Support this podcast: https://podcasters.spotify.com/pod/show/dawn-davis-loring/support

This week Russell Janzen and I wrap up our book club series on Yvonne Rainer's “Feelings are Facts”.

This week is the debut of D&S book Club!! Russell Janzen and I are discussing Yvonne Rainer's “Feelings are Facts” Read along and enjoy!!!

Barbara Dilley,  born on the southern tip of great lake Michigan in 1938, began her dancing path with Audree Estey, founder of the Princeton Ballet Society in Princeton New Jersey.  Helen Priest Rogers, who danced with Martha Graham, was her mentor at Mt. Holyoke College (1960) and encouraged her to go to the American Dance Festival at New London Connecticut, where she met Merce Cunningham.  She was invited to join his company in 1963 and toured extensively until 1968.  She danced with Yvonne Rainer (1966-70) and was part of  the Grand Union, an iconic dance theater improvisation ensemble (1970-1976). In 1974 she was invited to teach at the first summer of Naropa University (then Institute) in Boulder, Colorado.  At the end of the summer the founder, Tibetan meditation master Chogyam Trungpa Rinpoche, invited her to design a dance program  (1975-84).   She served as president of Naropa (1985-93) then returned to the arts faculty.   She has two children, Benjamin Lloyd and Owen Bondurant.Barbara is the author of This Very Moment, teaching thinking dancingResources: The Conversation Project###Your hosts of Are You Waiting for Permission? are Meridith Grundei and Joseph Bennett. They're friends, co-hosts, actors, improvisers, and coaches. She lives in NYC and coaches actors, business professionals, and presenters to fully engage with their audience, and themselves. She also mentors young actors and directors. He lives in San Miguel de Allende, México, and coaches artists and other creative beings about the beautiful business of art — and life. You can find Meridith:Meridith Grundei the performer artist gal Meridith Grundei CoachingYou can find Joseph:Joseph Bennett the artist/coach extraordinaire*Special thanks to Amy Shelley and Gary Grundei of high fiction for letting us use their music for the Are You Waiting for Permission? podcast.And... while the podcast is free, it's not cheap. We'd be thrilled to have your support on PATREONThank you.  

To watch the latest episode of Caveh Zahedi's “The Show About the Show” and support the making of its third season, visit https://www.kickstarter.com/projects/2284816/the-show-about-the-show?ref=project_link. See acast.com/privacy for privacy and opt-out information.

durée : 00:35:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Yvonne Rainer figure de la "post-modern dance" américaine des années 60 et 70 est l'une des créatrices du célèbre Judson Dance Theater de New York aux côtés de Steve Paxton, Trisha Brown et Lucinda Childs. Retour sur ce moment historique grâce à un entretien dans "Studio Danse" le 29 juin 2002. - réalisation : Virginie Mourthé - invités : Yvonne Rainer Danseuse, chorégraphe, cinéaste, théoricienne et poète américaine née en 1934.; Christophe Wavelet

durée : 00:43:58 - Les Nuits de France Culture - par : Albane Penaranda - La Nuit rêvée de Jérôme Bel - Entretien 2/3. Le chorégraphe a choisi de faire entendre Pina Bausch, Yvonne Rainer, Simone Forti ainsi qu'un portrait d'Isadora Duncan. La danse donc, mais aussi le théâtre, avec Valérie Dréville, Claude Régy et l'urgence des problèmes climatiques avec Bruno Latour. - réalisation : Virginie Mourthé - invités : Jérôme Bel Chorégraphe

durée : 00:07:22 - Les Nuits de France Culture - par : Albane Penaranda - La Nuit rêvée de Jérôme Bel - Entretien 3/3. Le chorégraphe a choisi de faire entendre Pina Bausch, Yvonne Rainer, Simone Forti ainsi qu'un portrait d'Isadora Duncan. La danse donc, mais aussi le théâtre, avec Valérie Dréville, Claude Régy et l'urgence des problèmes climatiques avec Bruno Latour. - réalisation : Virginie Mourthé - invités : Jérôme Bel Chorégraphe

durée : 00:44:24 - Les Nuits de France Culture - par : Albane Penaranda - La Nuit rêvée de Jérôme Bel - Entretien 1/3. Le chorégraphe a choisi de faire entendre Pina Bausch, Yvonne Rainer, Simone Forti ainsi qu'un portrait d'Isadora Duncan. La danse donc, mais aussi le théâtre, avec Valérie Dréville, Claude Régy et l'urgence des problèmes climatiques avec Bruno Latour. - réalisation : Virginie Mourthé - invités : Jérôme Bel Chorégraphe

Dance writer Wendy Perron, a former associate director of Jacob's Pillow, explores Grand Union, a maverick 1970s improvisation group based in downtown New York. Perron tells their story through the voices of four key members: Yvonne Rainer, Steve Paxton, Trisha Brown, and David Gordon.Special thanks to New England Public Media, for their support of this episode of PillowVoices. 

Artwork as opposed to experiment? Engineer versus artist? We often see two different cultural realms separated by impervious walls. But some fifty years ago, the borders between technology and art began to be breached. In Making Art Work: How Cold War Engineers and Artists Forged a New Creative Culture (MIT Press, 2020), W. Patrick McCray shows how in this era, artists eagerly collaborated with engineers and scientists to explore new technologies and create visually and sonically compelling multimedia works. This art emerged from corporate laboratories, artists' studios, publishing houses, art galleries, and university campuses. Many of the biggest stars of the art world—Robert Rauschenberg, Yvonne Rainer, Andy Warhol, Carolee Schneemann, and John Cage—participated, but the technologists who contributed essential expertise and aesthetic input often went unrecognized. Coming from diverse personal backgrounds, this roster of engineers and scientists includes Frank J. Malina, the American rocket-pioneer turned kinetic artist who launched the art-science journal Leonardo, and Swedish-born engineer Billy Klüver, who established the group Experiments in Art and Technology (E.A.T). At schools ranging from MIT to Caltech, engineers engaged with such figures as artist Gyorgy Kepes and celebrity curator Maurice Tuchman. Today, we are in the midst of a new surge of corporate and academic promotion of projects and programs combining art, technology, and science. Making Art Work reveals how artists and technologists have continually constructed new communities in which they exercise imagination, display creative expertise, and pursue commercial innovation. Mathew Jordan is a university instructor, funk musician, and clear writing enthusiast. I study science and its history, in the hope that understanding the past can help us make sense of the present and build a better future. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

Artwork as opposed to experiment? Engineer versus artist? We often see two different cultural realms separated by impervious walls. But some fifty years ago, the borders between technology and art began to be breached. In Making Art Work: How Cold War Engineers and Artists Forged a New Creative Culture (MIT Press, 2020), W. Patrick McCray shows how in this era, artists eagerly collaborated with engineers and scientists to explore new technologies and create visually and sonically compelling multimedia works. This art emerged from corporate laboratories, artists' studios, publishing houses, art galleries, and university campuses. Many of the biggest stars of the art world—Robert Rauschenberg, Yvonne Rainer, Andy Warhol, Carolee Schneemann, and John Cage—participated, but the technologists who contributed essential expertise and aesthetic input often went unrecognized. Coming from diverse personal backgrounds, this roster of engineers and scientists includes Frank J. Malina, the American rocket-pioneer turned kinetic artist who launched the art-science journal Leonardo, and Swedish-born engineer Billy Klüver, who established the group Experiments in Art and Technology (E.A.T). At schools ranging from MIT to Caltech, engineers engaged with such figures as artist Gyorgy Kepes and celebrity curator Maurice Tuchman. Today, we are in the midst of a new surge of corporate and academic promotion of projects and programs combining art, technology, and science. Making Art Work reveals how artists and technologists have continually constructed new communities in which they exercise imagination, display creative expertise, and pursue commercial innovation. Mathew Jordan is a university instructor, funk musician, and clear writing enthusiast. I study science and its history, in the hope that understanding the past can help us make sense of the present and build a better future. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science

Artwork as opposed to experiment? Engineer versus artist? We often see two different cultural realms separated by impervious walls. But some fifty years ago, the borders between technology and art began to be breached. In Making Art Work: How Cold War Engineers and Artists Forged a New Creative Culture (MIT Press, 2020), W. Patrick McCray shows how in this era, artists eagerly collaborated with engineers and scientists to explore new technologies and create visually and sonically compelling multimedia works. This art emerged from corporate laboratories, artists' studios, publishing houses, art galleries, and university campuses. Many of the biggest stars of the art world—Robert Rauschenberg, Yvonne Rainer, Andy Warhol, Carolee Schneemann, and John Cage—participated, but the technologists who contributed essential expertise and aesthetic input often went unrecognized. Coming from diverse personal backgrounds, this roster of engineers and scientists includes Frank J. Malina, the American rocket-pioneer turned kinetic artist who launched the art-science journal Leonardo, and Swedish-born engineer Billy Klüver, who established the group Experiments in Art and Technology (E.A.T). At schools ranging from MIT to Caltech, engineers engaged with such figures as artist Gyorgy Kepes and celebrity curator Maurice Tuchman. Today, we are in the midst of a new surge of corporate and academic promotion of projects and programs combining art, technology, and science. Making Art Work reveals how artists and technologists have continually constructed new communities in which they exercise imagination, display creative expertise, and pursue commercial innovation. Mathew Jordan is a university instructor, funk musician, and clear writing enthusiast. I study science and its history, in the hope that understanding the past can help us make sense of the present and build a better future. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Artwork as opposed to experiment? Engineer versus artist? We often see two different cultural realms separated by impervious walls. But some fifty years ago, the borders between technology and art began to be breached. In Making Art Work: How Cold War Engineers and Artists Forged a New Creative Culture (MIT Press, 2020), W. Patrick McCray shows how in this era, artists eagerly collaborated with engineers and scientists to explore new technologies and create visually and sonically compelling multimedia works. This art emerged from corporate laboratories, artists' studios, publishing houses, art galleries, and university campuses. Many of the biggest stars of the art world—Robert Rauschenberg, Yvonne Rainer, Andy Warhol, Carolee Schneemann, and John Cage—participated, but the technologists who contributed essential expertise and aesthetic input often went unrecognized. Coming from diverse personal backgrounds, this roster of engineers and scientists includes Frank J. Malina, the American rocket-pioneer turned kinetic artist who launched the art-science journal Leonardo, and Swedish-born engineer Billy Klüver, who established the group Experiments in Art and Technology (E.A.T). At schools ranging from MIT to Caltech, engineers engaged with such figures as artist Gyorgy Kepes and celebrity curator Maurice Tuchman. Today, we are in the midst of a new surge of corporate and academic promotion of projects and programs combining art, technology, and science. Making Art Work reveals how artists and technologists have continually constructed new communities in which they exercise imagination, display creative expertise, and pursue commercial innovation. Mathew Jordan is a university instructor, funk musician, and clear writing enthusiast. I study science and its history, in the hope that understanding the past can help us make sense of the present and build a better future. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Artwork as opposed to experiment? Engineer versus artist? We often see two different cultural realms separated by impervious walls. But some fifty years ago, the borders between technology and art began to be breached. In Making Art Work: How Cold War Engineers and Artists Forged a New Creative Culture (MIT Press, 2020), W. Patrick McCray shows how in this era, artists eagerly collaborated with engineers and scientists to explore new technologies and create visually and sonically compelling multimedia works. This art emerged from corporate laboratories, artists' studios, publishing houses, art galleries, and university campuses. Many of the biggest stars of the art world—Robert Rauschenberg, Yvonne Rainer, Andy Warhol, Carolee Schneemann, and John Cage—participated, but the technologists who contributed essential expertise and aesthetic input often went unrecognized. Coming from diverse personal backgrounds, this roster of engineers and scientists includes Frank J. Malina, the American rocket-pioneer turned kinetic artist who launched the art-science journal Leonardo, and Swedish-born engineer Billy Klüver, who established the group Experiments in Art and Technology (E.A.T). At schools ranging from MIT to Caltech, engineers engaged with such figures as artist Gyorgy Kepes and celebrity curator Maurice Tuchman. Today, we are in the midst of a new surge of corporate and academic promotion of projects and programs combining art, technology, and science. Making Art Work reveals how artists and technologists have continually constructed new communities in which they exercise imagination, display creative expertise, and pursue commercial innovation. Mathew Jordan is a university instructor, funk musician, and clear writing enthusiast. I study science and its history, in the hope that understanding the past can help us make sense of the present and build a better future. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Artwork as opposed to experiment? Engineer versus artist? We often see two different cultural realms separated by impervious walls. But some fifty years ago, the borders between technology and art began to be breached. In Making Art Work: How Cold War Engineers and Artists Forged a New Creative Culture (MIT Press, 2020), W. Patrick McCray shows how in this era, artists eagerly collaborated with engineers and scientists to explore new technologies and create visually and sonically compelling multimedia works. This art emerged from corporate laboratories, artists' studios, publishing houses, art galleries, and university campuses. Many of the biggest stars of the art world—Robert Rauschenberg, Yvonne Rainer, Andy Warhol, Carolee Schneemann, and John Cage—participated, but the technologists who contributed essential expertise and aesthetic input often went unrecognized. Coming from diverse personal backgrounds, this roster of engineers and scientists includes Frank J. Malina, the American rocket-pioneer turned kinetic artist who launched the art-science journal Leonardo, and Swedish-born engineer Billy Klüver, who established the group Experiments in Art and Technology (E.A.T). At schools ranging from MIT to Caltech, engineers engaged with such figures as artist Gyorgy Kepes and celebrity curator Maurice Tuchman. Today, we are in the midst of a new surge of corporate and academic promotion of projects and programs combining art, technology, and science. Making Art Work reveals how artists and technologists have continually constructed new communities in which they exercise imagination, display creative expertise, and pursue commercial innovation. Mathew Jordan is a university instructor, funk musician, and clear writing enthusiast. I study science and its history, in the hope that understanding the past can help us make sense of the present and build a better future. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Artwork as opposed to experiment? Engineer versus artist? We often see two different cultural realms separated by impervious walls. But some fifty years ago, the borders between technology and art began to be breached. In Making Art Work: How Cold War Engineers and Artists Forged a New Creative Culture (MIT Press, 2020), W. Patrick McCray shows how in this era, artists eagerly collaborated with engineers and scientists to explore new technologies and create visually and sonically compelling multimedia works. This art emerged from corporate laboratories, artists' studios, publishing houses, art galleries, and university campuses. Many of the biggest stars of the art world—Robert Rauschenberg, Yvonne Rainer, Andy Warhol, Carolee Schneemann, and John Cage—participated, but the technologists who contributed essential expertise and aesthetic input often went unrecognized. Coming from diverse personal backgrounds, this roster of engineers and scientists includes Frank J. Malina, the American rocket-pioneer turned kinetic artist who launched the art-science journal Leonardo, and Swedish-born engineer Billy Klüver, who established the group Experiments in Art and Technology (E.A.T). At schools ranging from MIT to Caltech, engineers engaged with such figures as artist Gyorgy Kepes and celebrity curator Maurice Tuchman. Today, we are in the midst of a new surge of corporate and academic promotion of projects and programs combining art, technology, and science. Making Art Work reveals how artists and technologists have continually constructed new communities in which they exercise imagination, display creative expertise, and pursue commercial innovation. Mathew Jordan is a university instructor, funk musician, and clear writing enthusiast. I study science and its history, in the hope that understanding the past can help us make sense of the present and build a better future. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Artwork as opposed to experiment? Engineer versus artist? We often see two different cultural realms separated by impervious walls. But some fifty years ago, the borders between technology and art began to be breached. In Making Art Work: How Cold War Engineers and Artists Forged a New Creative Culture (MIT Press, 2020), W. Patrick McCray shows how in this era, artists eagerly collaborated with engineers and scientists to explore new technologies and create visually and sonically compelling multimedia works. This art emerged from corporate laboratories, artists' studios, publishing houses, art galleries, and university campuses. Many of the biggest stars of the art world—Robert Rauschenberg, Yvonne Rainer, Andy Warhol, Carolee Schneemann, and John Cage—participated, but the technologists who contributed essential expertise and aesthetic input often went unrecognized. Coming from diverse personal backgrounds, this roster of engineers and scientists includes Frank J. Malina, the American rocket-pioneer turned kinetic artist who launched the art-science journal Leonardo, and Swedish-born engineer Billy Klüver, who established the group Experiments in Art and Technology (E.A.T). At schools ranging from MIT to Caltech, engineers engaged with such figures as artist Gyorgy Kepes and celebrity curator Maurice Tuchman. Today, we are in the midst of a new surge of corporate and academic promotion of projects and programs combining art, technology, and science. Making Art Work reveals how artists and technologists have continually constructed new communities in which they exercise imagination, display creative expertise, and pursue commercial innovation. Mathew Jordan is a university instructor, funk musician, and clear writing enthusiast. I study science and its history, in the hope that understanding the past can help us make sense of the present and build a better future. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Elizabeth Munro was born in London in 1939 and currently lives near Porthmadog, in North Wales. She is a painter and art/life practitioner. She was influenced early on by Harry Thubron, her inspirational mentor at Leeds College of Art- and  later by the groundbreaking Judson Dance Theatre where she participated in various performances. Arlene Rothlein, Malcolm Goldstein, and Philip Corner became good friends. Yvonne Rainer was a powerful influence. Her paintings have been exhibited in various galleries in the U.K. and New York. In the Eighties in Upstate New York she met and collaborated with Linda “Rosita” Montano, performance artist,  as well as becoming a friend of hers for life. Elizabeth Munro calls her work “Survival Art” and now sees it as a healing response to her childhood sexual abuse.  She attributes her freedom of movement in painting- and the painting itself- inspired by the influence of Sam Francis, Jackson Pollock and the Abstract expressionists-in helping to create a Lifeline for her: for escape, survival, and healing from early child sexual abuse. At the moment she has her studio in Wales and plans to do whatever she wants to next. Currently reading: The Tibetan Book of Living and Dying by Sogyal Rinpoche, Ninth Street Women by Mary Gabriel, Look At Me  by Anita Brookner and Self- Help by Lorrie Moore. Scroll painting by Elizabeth Munro - ‘Millstream’, early spring, pink rushing water, Woodstock N.Y. Photo from my dear friend Sky’s natural burial in Boduan Wood, Eternal Forest Trust, near Pwllheli in Wales. Birds were singing as I scattered flowers and rosemary on the wicker casket.

durée : 00:35:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Yvonne Rainer figure de la "post-modern dance" américaine des années 60 et 70 est l'une des créatrices du célèbre Judson Dance Theater de New York aux côtés de Steve Paxton, Trisha Brown et Lucinda Childs. Retour sur ce moment historique grâce à un entretien dans "Studio Danse" le 29 juin 2002. - réalisation : Virginie Mourthé - invités : Yvonne Rainer Danseuse, chorégraphe, cinéaste, théoricienne et poète américaine née en 1934.; Christophe Wavelet

durée : 00:43:58 - Les Nuits de France Culture - par : Albane Penaranda - La Nuit rêvée de Jérôme Bel - Entretien 2/3. Le chorégraphe a choisi de faire entendre Pina Bausch, Yvonne Rainer, Simone Forti ainsi qu'un portrait d'Isadora Duncan. La danse donc, mais aussi le théâtre, avec Valérie Dréville, Claude Régy et l'urgence des problèmes climatiques avec Bruno Latour. - réalisation : Virginie Mourthé - invités : Jérôme Bel Chorégraphe

durée : 00:07:22 - Les Nuits de France Culture - par : Albane Penaranda - La Nuit rêvée de Jérôme Bel - Entretien 3/3. Le chorégraphe a choisi de faire entendre Pina Bausch, Yvonne Rainer, Simone Forti ainsi qu'un portrait d'Isadora Duncan. La danse donc, mais aussi le théâtre, avec Valérie Dréville, Claude Régy et l'urgence des problèmes climatiques avec Bruno Latour. - réalisation : Virginie Mourthé - invités : Jérôme Bel Chorégraphe

durée : 00:44:24 - Les Nuits de France Culture - par : Albane Penaranda - La Nuit rêvée de Jérôme Bel - Entretien 1/3. Le chorégraphe a choisi de faire entendre Pina Bausch, Yvonne Rainer, Simone Forti ainsi qu'un portrait d'Isadora Duncan. La danse donc, mais aussi le théâtre, avec Valérie Dréville, Claude Régy et l'urgence des problèmes climatiques avec Bruno Latour. - réalisation : Virginie Mourthé - invités : Jérôme Bel Chorégraphe

Yvonne Rainer is one of the most influential living choreographers. After studying with Merce Cunningham she co-founded the Judson Dance Theater, a center of post-modern dance whose influence far outlasted its three years of existence. In the 1970s Rainer transitioned into film directing. She released seven feature films between 1972 and 1996 before returning to choreography in 2000 with After Many a Summer Dies the Swan, a piece created for Mikhail Baryshnikov’s White Oak Dance Project. Her latest book Revisions: Essays by Apollo Musagète, Yvonne Rainer, and Others (No Place Press, 2020) features the text of her ongoing piece Revisions: A Truncated History of the Universe for Dummies along with essays and interviews reflecting on her life and work. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at andyjamesboyd@gmail.com.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Yvonne Rainer is one of the most influential living choreographers. After studying with Merce Cunningham she co-founded the Judson Dance Theater, a center of post-modern dance whose influence far outlasted its three years of existence. In the 1970s Rainer transitioned into film directing. She released seven feature films between 1972 and 1996 before returning to choreography in 2000 with After Many a Summer Dies the Swan, a piece created for Mikhail Baryshnikov’s White Oak Dance Project. Her latest book Revisions: Essays by Apollo Musagète, Yvonne Rainer, and Others (No Place Press, 2020) features the text of her ongoing piece Revisions: A Truncated History of the Universe for Dummies along with essays and interviews reflecting on her life and work. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at andyjamesboyd@gmail.com.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Yvonne Rainer is one of the most influential living choreographers. After studying with Merce Cunningham she co-founded the Judson Dance Theater, a center of post-modern dance whose influence far outlasted its three years of existence. In the 1970s Rainer transitioned into film directing. She released seven feature films between 1972 and 1996 before returning to choreography in 2000 with After Many a Summer Dies the Swan, a piece created for Mikhail Baryshnikov’s White Oak Dance Project. Her latest book Revisions: Essays by Apollo Musagète, Yvonne Rainer, and Others (No Place Press, 2020) features the text of her ongoing piece Revisions: A Truncated History of the Universe for Dummies along with essays and interviews reflecting on her life and work. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at andyjamesboyd@gmail.com.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Hannah and I start off nasal, due to hay fever. We discuss routine, the importance of moving and dust. Hannah describes enclosing herself in the work and making a complete environment in the spare room. We discuss negative space, temporary structures and continual transformations, using the crook of the elbow and the space between the knees as places of resistance. We talk about layering, sculpture, flatness, and using domesticity alongside the monumental. We discuss having the courage to dance when no-one can see you and touch on muscular shifts and language to talk about movement. We talk about Yvonne Rainer and points of connection and why the word illustrate is loaded. Hannah describes the balance of her usual life, working in a gallery alongside her art making and we talk about discipline. Hannah ends on hair dressing podcasts, being grateful and not wasteful and on corners and not columns. Images: Desk image. (Work in progress) Links: https://www.hannah-hughes.com/ Instagram: _h_annah_hughes Material Immaterial publication curated by Rodrigo Orrantia is available soon: https://www.rodrigoorrantia.com/selected-projects/material-immaterial/ --- Support this podcast: https://anchor.fm/emma-cousin/support

Are you a dancer looking for financial relief during the pandemic? There's a good list of resources here, and here's a guide for freelancers specifically. If you'd like to help dancers in need, find out how here.

Joel Brown is an American dancer based in London. He has toured extensively with Brown Rice Productions and AXIS Dance Company from 2011-2014 and is currently engaged with Candoco Dance Company since 2015. He has performed works by and collaborated with choreographers such as Yasmeen Godder, Arlene Phillips, Alexander Whitley, Trisha Brown, Yvonne Rainer, Marc Brew, and others. Joel was nominated for an Isadora Duncan Award for "Outstanding Achievement in Performance" in 2013 and was recently awarded an "Emerging Artist" grant from Unlimited to create a new duet with himself and former Scottish Ballet principal dancer, Eve Mutso. Rachel Elderkin is a freelance dancer and dance writer based in London. Her dance writing can be also be read in the Stage, londondance.com, Exeunt and British Theatre Guide. She is a member of the UK's Critics' Circle, and has previously written for publications including Fjord Review, the Skinny (Scotland) and LeftLion (Nottingham) where she was Art Editor. Credits: Host: Rachel Elderkin Guest: Joel Brown Editing and production: George Bushaway Produced for Fjord Review

I'm fascinated by architects who work in interdisciplinary and collaborative ways, and my latest guests bridge architecture and dance in a fascinating way!  In this episode, I speak with Rennie Tang and Sara Wookey, the artists and creators behind Punt.Point.  Punt.Point was commissioned by the Van Abbe Museum in 2013 and acquired for their permanent collection in 2018.  Rennie and Sara are practitioners who come from architecture and dance backgrounds respectively, with training and interest in each others' disciplines.  They met in Los Angeles and started collaborating locally, on projects at venues like the Hammer Museum and Grand Park.   Rennie Tang is a designer and educator based in Los Angeles. As associate professor of landscape architecture at California Polytechnic State University Pomona, her teaching methods emphasize one-to-one scale spatial construction, topographic manipulation and material exploration. She is recipient of the 2017 Excellence in Design Studio Teaching Award from the Council of Educators in Landscape Architecture (CELA). Her collaborative work with choreographers, artists and occupational therapists supports her research focus on human mobility in urban landscapes. Sara Wookey is an American dance artist based in London. She creates choreographic works within local, national and international venues including theaters, museums and outdoor spaces. As part of her practice, she is a public speaker and writer known for her stewardship of dance as a recognized and valuable art form, particularly, in museum settings. The founding director of Wookey Works, a production company offering services to cultural organizations, academic institutions and civic agencies, Sara is interested in the social potential of dance across sectors and in our contemporary moment. She is a certified transmitter of Yvonne Rainer's repertoire and is a Tate Learning Research Associate.  Images are provided courtesy of Wookey Works and Rennie Tang, and are copyright protected.

'The World Upside Down' by Yvonne Rainer read by Stina Wirfelt. 'The World Upside Down' was first published in the collection 'Poems' by Badlands Unlimited 2011. A transcript of the entire book with the poem on page 66 can be found at https://terreyrocoreograficoblog.files.wordpress.com/2016/10/poems_yvonne-rainer.pdf

Today's guest is Pat Catterson.  Pat is a NYC-based choreographer, dancer, educator and writer, who has choreographed 111 dances but, although her biggest pleasure is still making her own dances, these days she is more known as a dancer and rehearsal assistant for Yvonne Rainer, as well as a custodian of Rainer’s early works.

Today's guest is Douglas Dunn. Douglas has been dancing and making dances for fifty years. His lineage includes five years as a member of the Merce Cunningham Dance Company and work with Yvonne Rainer leading to the founding and six-year career of Grand Union.  He formed Douglas Dunn + Dancers in 1978, and continues to work in collaboration with other artists to offer a multifaceted theatrical experience. Douglas has received countless awards and accolades for his work and teaching, and has a collection of published writings entitled "Dancer Out of Sight".

“Championed by Annette Michelson, B. Ruby Rich, and many others, [Yvonne] Rainer's films are densely verbose, elusive, dryly comic, furious, fractured, and intimately concerned with addressing a variety of injustices beyond the concerns of feminism, from ageism to gentrification to mental illness,” writes Film Comment Digital Producer Violet Lucca in her July/August print feature “Moving Beyond.” “Each work turns received notions of form and feminist praxis on their heads, talking out solutions to (or just expressing frustration at) extremely large problems, and using anecdotes to illustrate how desire and power influence all aspects of our lives.” On the occasion of the Film Society of Lincoln Center's retrospective of her films, Rainer, 82, joined Lucca for a conversation ranging across her varied and dynamic career—her choreography and radical dance work, her cinema's aesthetic approaches to examining privilege, and her interactions with second- and third-wave feminist circles.

Frances Barth was born in the Bronx, in New York City, and studied painting at Hunter College. While an art student she also studied modern dance, and performed in some of Yvonne Rainer’s work at Lincoln Center and the Billy Rose Theater in 1968-9. In 1972 Marcia Tucker put her painting “Henning” in the Whitney Museum Painting Annual, which resulted in her representation by Susan Caldwell For the past ten years Frances has also been working with animation and video. Her video, "Regina," a short portrait/documentary of the painter Regina Bogat, had its world premier at The Marfa Film Festival 2014. Her list of exhibitions and awards are just too long to list but highlights include The Joan Mitchell Award, an NEA Grant, the Guggenheim Fellowhip, and she is in the collection of the Museum of Modern Art, The Metropolitan Museum of Art, The Albright-Knox, and the Whitney Museum just to name a few from a very long list. She was a professor at the Yale School of Art for a significant time and was the Director Emeritus of the Mt.Royal School of Art, Maryland Institute. Brian visited Frances’ home studio in North Bergen, New Jersey and spoke about her youth in the Bronx, her formative years in New York City and her explorations into dance and animation.

An interview with Sara Wookey, a dancer, choreographer, and creative professional currently based in London a Tier 1 Visa endorsed by Arts Council England.  With a career that has spanned from the USA, to Amsterdam, to Los Angeles, and now London, Sara is also a certified transmitter of Yvonne Rainer's iconic work "Trio A" and currently interested in the potential for dance in its return to museum spaces.

This week: San Francisco checks in with dance legend Anna Halprin!!! Anna Halprin (b. 1920) is a pioneering dancer and choreographer of the post-modern dance movement. She founded the San Francisco Dancer's Workshop in 1955 as a center for movement training, artistic experimentation, and public participatory events open to the local community. Halprin has created 150 full-length dance theater works and is the recipient of numerous awards including the 1997 Samuel H. Scripps Award for Lifetime Achievement in Modern Dance from the American Dance Festival. Her students include Meredith Monk, Trisha Brown, Yvonne Rainer, Simone Forti, Ruth Emmerson, Sally Gross, and many others. Printed Matter Live Benefit Auction Event: March 9, 6-8:30 pm Robert Rauschenberg Project Space 455 West 19th St, New York www.paddle8.com/auctions/printedmatter Printed Matter, Inc, the New York-based non-profit organization committed to the dissemination and appreciation of publications made by artists, will host a Benefit Auction and Selling Exhibition at the Rauschenberg Foundation Project Space to help mitigate damage caused by Hurricane Sandy. As a result of the storm, Printed Matter experienced six feet of flooding to its basement storage and lost upwards of 9,000 books, hundreds of artworks and equipment. Printed Matter's Archive, which has been collected since the organization's founding in 1976 and serves as an important record of its history and the field of artists books as a whole, was also severely damaged. Moreover, the damage sustained by Sandy has made it clear that Printed Matter needs to undertake an urgent capacity-building effort to establish a durable foundation for its mission and services into the future. This is the first fundraising initiative of this scale to be undertaken by the organization in many years, and will feature more than 120 works generously donated from artists and supporters of Printed Matter. The Sandy Relief Benefit for Printed Matter will be held at the Rauschenberg Project Space in Chelsea and will run from February 28 through March 9th. The Benefit has two components: a selling exhibition of rare historical publications and other donated works and an Auction of donated artworks. A special preview and reception will be held February 28th, 6-8 pm, to mark the unveiling of all 120 works and to thank the participating artists and donors. The opening will feature a solo performance by cellist Julia Kent (Antony and the Johnsons), followed by a shared DJ set from Lizzi Bougatsos (Gang Gang Dance) & Kyp Malone (TV on the Radio). The event is free and open to the public. All works will then be available for viewing at the Rauschenberg Project Space March 1 – March 9, gallery hours. All Selling Exhibition works may be purchased during this period and Auction works will be available for bidding online. Bids can be made at www.paddle8.com/auctions/printedmatter. A live Benefit Auction Event will take place March 9, 6-8:30 pm with approximately 20 selected works to be auctioned in a live format. Bidding on these works will commence at 7pm sharp, while silent bids can be made on all other Auction works. Note, highest online bids will be transferred to the room. For absentee bidding of works, please contact Keith Gray (Printed Matter) at 212 925 0325 or keith@printedmatter.org. The evening will feature a performance by Alex Waterman on solo cello with electronics. Admission is $150 and tickets may be pre-purchased here. There will be only limited capacity. Highlighted auction works include an oversize ektacolor photograph from Richard Prince, a woven canvas piece from Tauba Auerbach, an acrylic and newsprint work from Rirkrit Tiravanija, a large-scale Canopy painting from Fredrik Værslev, a rare dye transfer print from Zoe Leonard, a light box by Alfredo Jaar, a book painting by Paul Chan, a carbon on paper work from Frances Stark, a seven-panel plexi-work with spraypainted newsprint from Kerstin Brätsch, a C-print from Hans Haacke, a firefly drawing from Philippe Parreno, a mixed-media NASA wall-piece from Tom Sachs, a unique print from Rachel Harrison, a vintage xerox poem from Carl Andre, an encyclopedia set of hand-made books from Josh Smith, a photograph from Klara Liden, a table-top sculpture from Carol Bove, Ed Ruscha’s Rooftops Portfolio, as well as original works on canvas and linen by Cecily Brown, Cheyney Thompson, Dan Colen, Adam McEwen, RH Quaytman, and many others. These Auction works can be previewed at: www.paddle8.com/auctions/printedmatter In addition to auction works, a vitrine-based exhibition of rare books, artworks and ephemera are available for viewing and purchase. This material includes some truly remarkable items from the personal collection of Robert Rauschenberg, donated by the Robert Rauschenberg Foundation in memory of the late Printed Matter Board Member, bookseller and publisher, John McWhinnie. Among the works available are books and artworks from Marcel Duchamp, Willem de Kooning, Alfred Steiglitz, Joseph Beuys, Brigid Berlin (Polk), as well as a Claes Oldenburg sculpture, a rare William Burroughs manuscript, and the Anthology Film Archive Portfolio (1982). Additional artists’ books have been generously donated by the Sol LeWitt Estate. Works include pristine copies of Autobiography (1980), Four Basic Kinds of Straight Lines (1969), Incomplete Open Cubes (1974), and others. Three Star Books have kindly donated a deluxe set of their Maurizio Cattelan book edition. These works can be viewed and purchased at the space. For inquiries about available works please contact Printed Matter’s Associate Director Max Schumann at 212 925 0325 or mschumann@printedmatter.org. Co-chairs Ethan Wagner & Thea Westreich Wagner and Phil Aarons & Shelley Fox Aarons have guided the event, and Thea Westreich Art Advisory Services has generously lent its expertise and assisted in the production of the auction. In anticipation of the event Printed Matter Executive Director James Jenkin said: “Not only are we hopeful that this event will help us to put Sandy firmly behind us, it is incredibly special for us. To have so many artists and friends associated with our organization over its 36 years come forward and support us in this effort has been truly humbling.“ Auction includes work by: Michele Abeles, Ricci Albenda, Carl Andre, Cory Arcangel, Assume Vivid Astro Focus, Tauba Auerbach, Trisha Baga, John Baldessari, Sebastian Black, Mark Borthwick, Carol Bove, Kerstin Brätsch, Sascha Braunig, Olaf Breuning, Cecily Brown, Sophie Calle, Robin Cameron, Sean Joseph Patrick Carney, Nathan Carter, Paul Chan, Dan Colen, David Kennedy Cutler, Liz Deschenes, Mark Dion, Shannon Ebner, Edie Fake, Matias Faldbakken, Dan Graham, Robert Greene, Hans Haacke, Marc Handelman, Rachel Harrison, Jesse Hlebo, Carsten Höller, David Horvitz, Marc Hundley, Alfredo Jaar, Chris Johanson, Terence Koh, Joseph Kosuth, Louise Lawler, Pierre Le Hors, Leigh Ledare, Zoe Leonard, Sam Lewitt, Klara Liden, Peter Liversidge, Charles Long, Mary Lum, Noah Lyon, McDermott & McGough, Adam McEwen, Ryan McNamara, Christian Marclay, Ari Marcopoulos, Gordon Matta-Clark, Wes Mills, Jonathan Monk, Rick Myers, Laurel Nakadate, Olaf Nicolai, Adam O'Reilly, Philippe Parreno, Jack Pierson, Richard Prince, RH Quaytman, Eileen Quinlan, Sara Greenberger Rafferty, Ed Ruscha, Tom Sachs, David Sandlin, Paul Mpagi Sepuya, Cindy Sherman, Josh Smith, Keith Smith, Buzz Spector, Frances Stark, Emily Sundblad, Andrew Sutherland, Peter Sutherland, Sarah Sze, Panayiotis Terzis, Cheyney Thompson, Rirkrit Tiravanija, Nicola Tyson, Penelope Umbrico, Fredrik Værslev, Visitor, Danh Vo, Dan Walsh and Ofer Wolberger.

One Thing Leads to Another is a working installation and multi-media performance, revolving around a overturned hot air balloon, reanimated through narrative, dance and shifting physicality. This project from artist Tamar Ettun will abstract vignettes from The Odyssey, taking the text's themes of labor, gifting and movement of the itinerant body, while incorporating dance traditions from Trisha Brown, Yvonne Rainer, and Ohad Naharin's GAGA. The performance, which will occur inside the inflated balloon, will last two hundred and forty minutes, referencing The Odyssey's 24 chapters. The audience can come and go as they like, and is encouraged to move inside and outside the balloon to witness the narrative evolve into an animate sculpture, featuring video projection, live music, and choreography from seven performers, including the artist. Performers will move from one end of the balloon to another, each making an effort to complete specific tasks while negotiating the physical impediment of others blocking their path. Once all tasks have been completed, all performers will rotate 90 degrees and repeat. Performers: Danielle Agami, Netta Yerushalmy, Luke Murphy, Yoni Kretzmer, Jaeeun Lee, Tamar Ettun. One Thing Leads to Another is organized and presented by Recess.

Sabeth Buchmann is an art historian and critic. She is professor for modern and postmodern art at the Academy of Fine Arts Vienna and Chair of the Institute for Art Theory and Cultural Studies. She writes contributions for books, magazines and catalogues regularly and is a member of the Advisory board of the Berlin based magazine ‘Texte zur Kunst’. She is the author of Denken gegen das Denken. Produktion – Technologie – Subjektivität bei Sol LeWitt, Hélio Oiticica und Yvonne Rainer 2007 and Co-editor with Alexander Alberro of Art After Conceptual Art 2006. Recorded May 6, 2010 in Magasin 3, Stockholm Language: English

Sabeth Buchmann is an art historian and critic. She is professor for modern and postmodern art at the Academy of Fine Arts Vienna and Chair of the Institute for Art Theory and Cultural Studies. She writes contributions for books, magazines and catalogues regularly and is a member of the Advisory board of the Berlin based magazine ‘Texte zur Kunst’. She is the author of Denken gegen das Denken. Produktion – Technologie – Subjektivität bei Sol LeWitt, Hélio Oiticica und Yvonne Rainer 2007 and Co-editor with Alexander Alberro of Art After Conceptual Art 2006. Recorded May 6, 2010 in Magasin 3, Stockholm Language: English

Felicia Ballos and Amy Granat are both founding members of Cinema Zero in Brooklyn. Granat has worked on the restoration of the films of Maya Deren and has presented her films in New York and Europe. Ballos trained with Trisha Brown and Min Tanaka and has danced with Yvonne Rainer. Both have ties to extreme underground music. Curated by Liutauras Psibilskis. shot & edited by Emily Chen

Michael Mercil and students from the Department of Art Embodied Knowledge Ensemble and Volunteer Corps read selected Art Manifestos both historical and contemporary:How to write a Manifesto by Nicole Debrabandere, What is Art For? by Tom Marioni, Instructions for reading an Srt Manifesto (in public and aloud) by Paula Gaetano Adi, Karawane by Hugo Ball (1916), No Manifesto by Yvonne Rainer (1965) The Advantage of Being a Woman Artist by Guerilla Girls, Statement by the International Faction of Constructivists (1922), 15 Lines of Words on Art Statement by Ad Reinhardt, The Future of Music - Credo by John Cage (1937), Manifesto by Group BMPT, Bruce Nauman, Does Money Manipulate Art? by The Art Workers Coalition (1969).