Tag Archives: Yvonne Rainer


This week, Adam Pendleton and Performa present an online screening of the artist’s work JUST BACK FROM LOS ANGELES—A PORTRAIT OF YVONNE RAINER as well as a conversation with Pendleton and Performa founder RoseLee Goldberg. See links below for details.

They’re beginning to see what they used to only look at…

I remember the breathlessness of the lifting section

I remember your Martha Graham story and your voice rising, and I got worried you were going to talk about whether she ate cock or not and Steve starting to read on the other mic and changing the atmosphere.

I remember the opening bars of the Chambers Brothers and doing Trio A slow, very slow, and Steve joining me and then fast, with and against Steve’s tempo.

I remember… you grinning at the pleasure we had.

Oh, and the wings.

I remember watching the pillow solo and then during Trio A the wings would sometimes flap in my face.

I remember talking to you in the hotel, before “stoned,” and you said I was always wanting to get someplace and that I should just be where I was…

and only there… and that was what happened in the performance.

I remember standing around waiting to start the run-thru, and you were talking and then you turned and said, “What are you waiting for?”

and Doug saying what I had been doing, which was waiting for you!

I remember the pleasure of huddling in the rolls and Steve coming down on me with his self-conscious silly grin.

And I remember being out of it thru Becky’s solo, then toward the end seeing her so totally there with that changed and changing body of hers…

I remember the box improvisation with David.

The specter of crisis was also bolstered by the cops’ simple inability to stop killing black people. Just prior to Brown’s murder, forty-six-year-old Eric Garner of State Island, New York, unarmed and minding his own business, was approached by police and then choked to death as he gasped eleven times, “I can’t breathe.” Two days after Brown was killed, Los Angeles Police department officers shot and killed another young black man, Ezell Ford. Months later, autopsy reports would confirm that Ford was shot multiple times, including once in the back, while he lay on the ground. In a suburb of Dayton, Ohio, police shot to death John Crawford III, twenty-two years old and African American, while he was talking on his cell phone and holding an air gun on sale in the aisle of a Walmart. And as the nation waited to hear whether a grand jury would indict officer Darren Wilson for Brown’s death, Cleveland police killed thirty-seven-year-old, African American Tanisha Anderson when they slammed her to the ground, remaining on top of her until her body went limp. The following week, police in Cleveland struck again, murdering a twelve year old boy, Tamir Rice, less than two seconds after arriving at the playground where Rice was playing alone. Making maters worse, the two Cleveland police stood by idly, refusing aid, while Tamir bled to death. When his fourteen-year-old sister attempted to help him, police wrestled her to the ground. 

I remember the breathlessness of the lifting section

I remember the opening bars of the Chambers Brothers

I remember… you grinning at the pleasure we had.

I remember watching the pillow solo and then during Trio A the wings would sometimes flap in my face.

I remember talking to you in the hotel, before “stoned,”

I remember standing around waiting to start the run-thru, and you were talking and then you turned and said, “What are you waiting for?”

I remember the pleasure of huddling in the rolls and Steve coming down on me with his self-conscious silly grin.

I remember the box improvisation with David. 

Whenever one writes about a problem in the United States, especially concerning the racial atmosphere, the problem written about is usually black people, that they are either extremist, irresponsible, or ideologically naïve.

What we want to do here is to talk about white society, and the liberal segment of white society, because we want to prove the pitfalls of liberalism, that is, the pitfalls of liberals in their political thinking.

Whenever articles are written, whenever political speeches are given, or whenever analyses are made about a situation, it is assumed that certain people of one group, either the left or the right, the rich or the poor, the whites or the blacks are causing polarization.

The fact is that conditions cause polarization, and that certain people can act as catalysts to speed up the polarization; for example, Rap Brown or Huey Newton can be a catalyst speeding up the polarization of blacks against whites in the Untied States, but the conditions are already there. George Wallace can speed up the polarization of whites against blacks in America, but again, the conditions are already there.

Many people want to know why, out of the entire white segment of society, we want to criticize the liberals. We have to criticize them because they represent the liaison between both groups, between the oppressed and the oppressor. The liberal tries to become an arbitrator, but he is incapable of solving the problems. He promises the oppressor that he can keep the oppressed under control; that he will stop them from becoming illegal (in this case illegal means violent). At the same time, he promises the oppressed that he will be able to alleviate their suffering—in due time. Historically, of course, we know this is impossible, and our era will not escape history. 

A line is the distance between.

They circled the seafood restaurant singing “We shall not be moved.” Adam Pendleton,  Just back from Los Angeles: A Portrait of Yvonne Rainer, 2016–2017


Thursday, June 25.

11 am on the West Coast; 2 pm East Coast.


Thursday and Friday, June 25 and 26.

7 pm, all time zones.

Text courtesy and © Adam Pendleton.

Adam Pendleton, from top: Just back from Los Angeles: A Portrait of Yvonne Rainer, 2016–2017 (still), single-channel black-and-white video; See the Sin, 2020, drawing; Black Lives Matter (wall work) #2 (detail), 2015, wallpaper; Just back from Los Angeles: A Portrait of Yvonne Rainer; Our Ideas #3, 2018, silkscreen ink on mylar; Just back from Los Angeles: A Portrait of Yvonne Rainer. Images courtesy and © the artists and Pace Gallery.


In conjunction with the exhibition SILKE OTTO-KNAPP—IN THE WAITING ROOM—curated by Solveig Øvstebø—the Renaissance Society and the Logan Center for the Arts present MOVING IMAGES, a series of dance films by Yvonne Rainer, Babette Mangolte and Trisha Brown, and Charles Atlas and Merce Cunningham.

Post-screening, Otto-Knapp will discuss the films.


Friday, March 6, at 7 pm.

Logan Center for the Arts

915 East 60th Street, Chicago.


Through March 29.

Renaissance Society

University of Chicago, Cobb Hall, 4th Floor

5811 South Ellis Avenue, Chicago.

Top and below: Charles Atlas and Merce Cunningham, Channels / Inserts, 1982, stills, courtesy and © the artists and their estates, the dancers, and Electronic Arts Intermix. All other images: Silke Otto Knapp, In the Waiting Room, Renaissance Society, January 11, 2020–March 29, 2020, installation views, courtesy and © the artist, the photographer, and the Renaissance Society.


A tribute to Carolee Schneemann—a series of screenings and a panel discussion with Peggy Ahwesh, Maggie Nelson, Lauren Pratt, and Kenneth White—is at Redcat this weekend.

Among Schneeman’s films that will screen at 4 pm and 8:30 pm: VIET-FLAKES, FUSES, PLUMB LINE, WATER LIGHT / WATER NEEDLE, INTERIOR SCROLL: THE CAVE, DEVOUR, and INFINITY KISSES.

Tributes will include a text by Yvonne Rainer, read by Monica Majoli.


Saturday, February 29.

Screenings at 4 pm and 8:30 pm.

Panel discussion at 5 pm.


631 West 2nd Street, downtown Los Angeles.

Carolee Schneemann: Artwork images courtesy and © the estate of the artist, Galerie Lelong, and P.P.O.W., New York.


Join ART-RITE founding co-editor Walter Robinson, Pat Steir, Robin Winters, moderator Carlo McCormick, and host Jeffrey Deitch for a panel discussion and launch of the facsimile reprint of ART-RITE.

Collected in a 600-plus-page volume, this co-publication of Primary Information and Printed Matter contains all twenty issues of the newsprint magazine edited by Robinson, Edit DeAk, and Joshua Cohn—who would leave after issue 7—between 1973 and 1978.

(DeAk, Robinson, Sol LeWitt, and Lucy Lippard were among Printed Matter’s 1976 co-founders.)

Contributors to ART-RITE included Vito Acconci, Kathy Acker, Bas Jan Ader, Laurie Anderson, David Antin, John Baldessari, Jennifer Bartlett, Gregory Battcock, Lynda Benglis, Mel Bochner, Christian Boltanski, AA Bronson, Marcel Broodthaers, Trisha Brown, Chris Burden, Daniel Buren, Scott Burton, Ulises Carrión, Judy Chicago, Lucinda Childs, Christo, Diego Cortez, Hanne Darboven, Agnes Denes, Ralston Farina, Richard Foreman, Peggy Gale, Gilbert and George, John Giorno, Philip Glass, Leon Golub, Guerrilla Art Action Group, Julia Heyward, Nancy Holt, Ray Johnson, Joan Jonas, Richard Kern, Lee Krasner, Shigeko Kubota, Les Levine, Sol LeWitt, Lucy Lippard, Babette Mangolte, Brice Marden, Agnes Martin, Gordon Matta-Clark, Rosemary Mayer, Annette Messager, Elizabeth Murray, Alice Neel, Brian O’Doherty, Genesis P-Orridge, Nam June Paik, Charlemagne Palestine, Judy Pfaff, Lil Picard, Yvonne Rainer, Dorothea Rockburne, Ed Ruscha, Robert Ryman, David Salle, Julian Schnabel, Carolee Schneemann, Richard Serra, Sylvia Sleigh, Jack Smith, Patti Smith, Robert Smithson, Holly Solomon, Naomi Spector, Nancy Spero, Pat Steir, Frank Stella, David Tremlett, Richard Tuttle, Alan Vega, Andy Warhol, William Wegman, Lawrence Weiner, Hannah Wilke, Robert Wilson, and Irene von Zahn.


Tuesday, December 10, at 7 pm.

Jeffrey Deitch

18 Wooster Street, New York City.

From top: Art-Rite (2); Edit DeAk, photograph by Timothy Greenfield-Sanders; Walter Robinson, photograph by Greenfield-Sanders; Art-Rite facsimile reprint cover; Art-Rite cover by Christo; Art-Rite launch card. Images courtesy and © the photographer, Walter Robinson, Primary Information, and Printed Matter.


Once again, the CalArts Winter Dance program celebrates the canon, this year with a program of works by Yvonne Rainer, Danielle Agami, Salia Sanou, and Wayne McGregor, staged either by the original choreographers or their close associates.

Rainer’s DIAGONAL—part of her 1963 dance Terrain—will be staged by dance artist and certified Rainer transmitter Sara Wookey, and McGregor’s FAR (2010) by former Company Wayne McGregor dancer Louis McMiller.

Sanou is staging his own work DU DESIR D’HORIZON (2016), and ONLY THEN—the Agami selection of excerpts—is staged by the choreographer and her Ate9 dancers Sarah Butler and Rebecah Goldstone.


Friday and Saturday, December 6 and 7, at 8:30 pm.


631 West 2nd Street, downtown Los Angeles.

Dancers this season include Mandolin Burns, Yunju Cho, Faith Johnson, Claire Kilgore, Breonna Leigh, Andrea Soto, Matreya Teichrow, Madeline Wray, Josie Anders, Jaden Johnson, Kiara Jones, Ava Kough, Jules Mara, Lena Martin, Alicia Pak, Mao Tokunaga, Justin Farmer, Mia Givens, Damontae Hack, Bethanie Hayes, Ally Hernandez, Emara Neymour-Jackson, Sofie Oldenboom, Nicholas Ruscica, Makayla Sifuentes, Gloria Tonello, Chloe Crenshaw, Genevieve Fletcher, Yunni Lin, Luciana Lyons, Jade Moreno, Risa Padilla, Nia Scovel, Madyson Thornquest, Keely Uchida, Emilio Wettlaufer, Aaron Wilson, Hannah Wu, Lilly Wylde, Delisa Bass, Kaitlyn Benzant, Eliana Grimes, Shannon Hafez, Kehari Hutchinson, Madison Lynch, Dave McCall, Kait McKinney, Taliha Scott, Andrew Tiamzon, Annmarie Arcuri, Emilee Iuvara, and Seamus Peart.

From top: Wayne McGregor, Far (2010), (2); Salia Sanou, Du desir d’horizon (2016), (2); Yvonne Rainer, Diagonal, part of Terrain, (1963/2019); Danielle Agami, Only Then, (2014/other); Sanou, Du desir d’horizon; McGregor, Far. Photographs by Rafael Hernandez, courtesy and © the choreographers and stagers, the dancers, the photographer, and CalArts.