From 'Led Zeppelin by Led Zeppelin' to 'The Swimming Pool in Photography' to 'Protest: The Aesthetics of Resistance,' with new monographs on Yayoi Kusama, Hilma af Klint, James Turrell and Jack Whitten, and announcing D.A.P. distribution for Glenstone Museum and SPBH Editions.
KUNSTHAUS BREGENZ/MUSEUM LUDWIG, COLOGNE
Yvonne Rainer: Space, Body, Language
Edited by Yilmaz Dziewior, Barbara Engelbach. Foreword by Yilmaz Dziewior, Barbara Engelbach, Kaspar König. Text by Gabriele Brandstetter, Douglas Crimp, Yilmaz Dziewior, Barbara Engelbach, Carrie Lambert-Beatty, Volker Pantenburg, Catherine Wood.
Despite her years of work and influence as one of the world’s leading choreographers, dancers and filmmakers, Yvonne Rainer (born 1934) has until now not received the retrospective exhibition in Europe that her career deserves. Yvonne Rainer: Space, Body, Language is published for exhibitions at the Kunsthaus Bregenz and the Museum Ludwig, Cologne, and covers the full spectrum of her work, starting from her foundational New York dance works such as The Mind Is a Muscle (1968), which created a new physical language out of everyday gestures and humdrum objects such as mattresses, barbells and bubblewrap. Moving to her political and feminist films between 1976 and 1996, which took the filmic montage features of her dance (and her incorporation of filmed actions of hands and volleyballs in her performances) to their next level, Space, Body, Language brings us up to the present with Rainer’s return to choreography in 2000 and such recent compositions as Assisted Living: Good Sports 2 (2011) and Spiraling Down (2008). This catalogue presents previously unseen documentation of stage works, notebooks, an astonishing number of dance scores, scripts, movie and exhibition posters and a carefully compiled appendix, as well as essays by Douglas Crimp, Gabriele Brandstetter, Carrie Lambert-Beatty, Volker Pantenburg, Catherine Wood and editors Yilmaz Dziewior and Barbara Engelbach.
Featured photograph, of Yvonne Rainer and Trisha Brown, is "Satie for Two" (1962). It is reproduced from Space, Body, Language.
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FORMAT: Pbk, 7.5 x 10 in. / 296 pgs / 35 color / 107 b&w. LIST PRICE: U.S. $55.00 LIST PRICE: CANADA $65 ISBN: 9783863351373 PUBLISHER: Kunsthaus Bregenz/Museum Ludwig, Cologne AVAILABLE: 8/31/2012 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Out of print AVAILABILITY: Not available
Published by Kunsthaus Bregenz/Museum Ludwig, Cologne. Edited by Yilmaz Dziewior, Barbara Engelbach. Foreword by Yilmaz Dziewior, Barbara Engelbach, Kaspar König. Text by Gabriele Brandstetter, Douglas Crimp, Yilmaz Dziewior, Barbara Engelbach, Carrie Lambert-Beatty, Volker Pantenburg, Catherine Wood.
Despite her years of work and influence as one of the world’s leading choreographers, dancers and filmmakers, Yvonne Rainer (born 1934) has until now not received the retrospective exhibition in Europe that her career deserves. Yvonne Rainer: Space, Body, Language is published for exhibitions at the Kunsthaus Bregenz and the Museum Ludwig, Cologne, and covers the full spectrum of her work, starting from her foundational New York dance works such as The Mind Is a Muscle (1968), which created a new physical language out of everyday gestures and humdrum objects such as mattresses, barbells and bubblewrap. Moving to her political and feminist films between 1976 and 1996, which took the filmic montage features of her dance (and her incorporation of filmed actions of hands and volleyballs in her performances) to their next level, Space, Body, Language brings us up to the present with Rainer’s return to choreography in 2000 and such recent compositions as Assisted Living: Good Sports 2 (2011) and Spiraling Down (2008). This catalogue presents previously unseen documentation of stage works, notebooks, an astonishing number of dance scores, scripts, movie and exhibition posters and a carefully compiled appendix, as well as essays by Douglas Crimp, Gabriele Brandstetter, Carrie Lambert-Beatty, Volker Pantenburg, Catherine Wood and editors Yilmaz Dziewior and Barbara Engelbach.
