Scribd Logo
Upload

Welcome to Scribd!

  • Michael Fried and Yvonne Rainer

    Uploaded by

    Leonardo Machado
    12 views26 pages

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    Report this Document

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    12 views26 pages

    Michael Fried and Yvonne Rainer

    Uploaded by

    Leonardo Machado

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 26
    CSET TAM IRS VETO EES CHICAGO ART JOURNAL Bia ews) Contents Eales Statement Exchanges, Sodas, anslatans wi Articles [Convert Capt he amc Payer Ragin the Sepa Syagaave Taken Out of Ciution: The Intaniity the Git inthe Wek ot Me quine—T4 Witla Stoey Mounts Long Itund Famer Hashing Com: Painting, Engraving, Bone Note 22 ‘dent and the Tansplanted Dynasty: The County Estates of Uneyad Corso 33 ich! Fed and Yonge Rainer The Testa’ of TA? 46 Art ‘rt and Tanslation: A Selection ot Cntengray Art 55, Bian Fay 57 Dasha Sthurpela 61 Soheie Kise 65 Sandia Vary 70, era tange 74 Critical Engagements | eens i Contes in Garman Mt Mths, Recs, Rochas 85 fest Hoc Psa nevi th Michel hemgson 86 The Usted 91 Notes tr Conbitors 92 Michael Fried & Yvonne Rainer: The ‘Theatricality’ of Trio A? Ben Schachter, Pratt Institute Yvonne Rainer, a choreographer working in the 1960s with New York City’s Judson Dance Theatre, outlines explicitly the qualities of another medium, sculpture, she most admired: “I remember thinking that dance was at a disadvantage in relation to sculp. ture in that the spectator could spend as much time a he required to examine a sculpture, walk around it, and so forth-but a dance movement-because it happened in time-vanishes as soon as it was exe- cuted."! Specifically, Rainer was impressed with minimalist sculpture, characterized by the use of simple forms and plain materials. Michael Fried analyzed the experience of viewing the same sculp. ture in his 1967 Artforum essay “Art and Objecthood.” Fried writes, “there is a war going on | between theatre and modernist painting, between the theatrical and the pictorial..."? Espousing the mod: emist view that each artistic medium should be concerned with its respective essence, Fried writes, “What lies between the arts is theatre.” Labeling the artists Rainer championed “literalists,” Fried suggests their works exist as mere objects, rather than art ‘bic elit othe seein wich teh acu ened pinay ‘any i concradwih the stil cumstances in when Dedede encoun less hasten ir! at estilo oy ens pon he ont “Hane peasertcaty ete tug econ et heey ‘ales Wt whe snes tat ens et emg a ‘Rr aie sng ie We! ina wold geo ose eet tose ‘ce he wk in a depth anes, oe fae ctien ten toa petrmig a ot oe ine ad Stee Pon wre ner and cried te Suen Dee Wesel calito chro whe pred at he sen el en holt estes ot cones. Chanepophrs dwt moe wget cee aes ‘9 rs pt nl matslin space." Rar we te ta des ena. Néesing dane ct “neared yeni compet ol sp ee sama by acu, Ran med tt ie on here Sie Paton te Rat, eh ay geet a, ween dance ese lan Stsing Ln 1967) re eect cence ihe spent he doe ‘ces mran-coneer song he eo oming e stet A vage Voce CHICAGO ART JOURNAL 513 Matacic OST og | Michel Fed ond Yonne Raine The ‘Theat’ of Tia AP Staged he owed a inch knw, he sate eg ican he felt th erat, he we te you nan ty pin ey ps payin ‘te °17 Ts wef ean very ators, he wong cheats he renee ‘eon wich exes auratus ofthe toh One ch ray eats sto oh remove showman to ent ma lhe son Doce These caegraphe, incline Rie son Wonca ath oss woot nd ams, Gahans wk mtd te idsetet at, Yer 2 ateunav epee io whch chrayahe nna desped evry oct ie peor tm doce poe achat withn te ences rate, Ted ent ‘ses chat transformation Rly: al ots eo acs ‘ee stop tonady ese ‘ay fe monet ¥ Tig cout be ite, rede phd seen oy News ey ance. A in feat teased. Acton ome ee ‘tte py» toerobRc monn ch sa "sopaperhvta, ous te dans ty ava : ach yee ner eh pvomag acto tt on pes Tats ‘shes a seas teh continue niet prderan meet Raber CHICAGO ART JOURNAL Michael ied and Yeane Rane: The “Theil of To 8? (opciones ager actanin io Thoth he emo one lect ny seem rv. ak. chase puceton most sd te dco In the ty waits, ides, el ayariness pede eta ‘acl became sane bet he anc aoa te by. ts monet ae thing te, ter sesug te bsyseomectn ood Rar maee ie ence opin Ahn sm tai’, eon api see Rarer ‘tacoesny may spe palenae.Paomanc ates ke ne, depend pe he vectra hated fund unearvcing s monst cte.Daetenal nes vo ag pace ad on anc. Wi thee ouch crrelerten Sef we ote vw in ain fr Rs meena ht he spar cad “ee sv dierent ves faint. To mih he any af he han Bayon tat ftp" eas emsing the qua tine aise yar. Todo 0. Raier lense ete sane sans tine ee at Fred td mina ese, hasetzaan oe tempat tiers tet ean hei tyes mia ewan el eos 2mB9 sede seid ey ob ment pe nastics mca cults anny and charter ae temp ton, Fd abject 5 acne, ote cnrston tween sera ae twa fe misread The alae pene cette oe Sete tuna atrie amay tom te cj the space ch he oe! ple iners tA noe edces he prema conteration wh he steer ct ‘estes nth aut ad To Aas th ls argc ‘nuneatng ogb e a ah ab er here. tere, wel a suet quis Fi te ecimes me ean jet eed of tr encton sts Whie Fee supe ln "oma supe shape th cect he ps shape zn he mp ‘soi ns anit tomer” he eto eee ee a Gtycas | OcCULUS Journal for the History of Art 4 2 “The Mosse of Theodora at San Viale and the Maio del Clemens it Sata Massa In Tistevere: The tclationship berwven depictions of the sce al the inperiat Tif na Watingon Gertrude of Kies: Quenly Pawonage ia ‘he Eleventh Century Slat Getta Codex Eb Gein Constables Coentay Engi Lendespe Mezaokns a5 Metonymic Stacy Jake Deer Pusssing Desire: A Lacaian Approach vo ‘he Pantngs oF Ewan Hopper Mae Racer Fay Post Modeenen: The Development ‘of AreCetctn in the 19404 Ban Sohabor About the Authors 520 Early Post- Modernism: ‘The Development of Att Criticism in the 1960s on Schachter Moses ogi ew cage a ain by the maga a ofthe 15 Clement Greberg ‘haplno! ths Moen aan elavonary pose ‘ered the lel enn of each mon Tas velopment dersnded the separation oft tar the center ofeach ole ated ad incepesey ‘clatt. Through th process Absiat Espero, ‘ich coed che pte ubetve gate eed in sade pi on eas a ena ey, Drom the descent of Cubs ad Srl dhl dace ‘ng pinings pus of ks oneal Greene, poor, in th view of de developmen af ae For er nny momeat in a istry serve the progression to te essence of any gen mon hi gener ee he beled the “Node Redson™ Grobe singe mindless, is ner fe, hasten wily reopen shes meee ‘A sant meetin of whichis tpresete bythe foosing quote fom Nick Kaye 4 tee who i sem othe mang adept cg of a, (Greenberg conch, Mosene shoes not lower the sanding of Leona, Rap, ‘Tian, Rubens Rembrandt oe Wateay, br er ‘shat Moder as made lashed ce st dl apprecate masters iets junc ie wong or etl wasn for doy sat Not only the “Modest Redon” insta ad ince of alla, bat sapere ll clr, pc td soclopcl imporuace of a fom a tie pris Whasoeer This id famevoriwas eventual ected Aries an ements, pce by both ats and ries om the 1960 hep to state ow setae te ein eel changed “Tao ements of Greg Moderns in prtiar wee clenged ae dismantled. Fi aris seconded {he eoaonary tend cate in Gren Modern har songs that rte as ftow fom ne other along am eval econ Second be tei ipimay ate of asic practi in the 96D work saint the quest Gad te contd essence of anyon ‘edo, Th article wl how tht dhe Moderns exig, (oF Mina ws uct ontguately Sse the ‘woke Moros at hit appronch ou ot duce sa the new xpetence of eng he wk fi ‘experince hat pccipoted 3 awe ycablay, uml, expectation” wil be inode a eta tem ais mos easly een though he aes cacy ates torndentnd Mesimalam. ctl ed one ofthe tangent soporte of this apponc,suempted to show hatte ew a of ‘he 1 coal be accom within Gees “Moderns. To do thi e aged hat the new work conned the evoluonary Modi edn fom the pio” a of the tome pat, Ped we, “Soernt painting bs enabled oe to 64 lank cama, sequence of rato plates, 2 gh of colored ie at pcre. Das snd Neo Dada hase epippes one oat vialy ay abet a work of [NU Moses and Dada bere mia nesigtons ‘xpanding "the ei of the eit conesponing ionic yas iewere—to the expansion ofthe ptr achieve by Moder paining”* A ecsons be they Dad ie sppestnce, become "pcr" aed there fel oder Moderion. 522 aly Powe Modersism ter coer ane agit such gd fmework: Batra Rose les amore socal contingent cw of at aad ‘in sodng aes with Fred Her hstry bogie with ales nd Duchamp. aie Fed who se Duchamp 28 ied cubis, Roe shia decison, wel Maes’, 6 cl prgresion "oma sedacine 140 These rections extn oo for, Dacha ‘enounced the “noon of niques of the ‘objec ands ifereaton fom common ejects alec enounced the le hat “ar rst be compen ‘They were bot etn Merits” who dl ot oe imi nage section tothe exceses of ik rao,” an they bth tok eis “as ara hat as conceene These to ati thereto do mo nd 1s foto the evolsnnary tend teed he exsnce of yeh mein suggested by Greeley and Fed Thy ‘scoot ps; Duchamp an Nich ade decisions ‘neti te objet, ashes presentation a its ‘sion ono zation to sory. ‘The ection Barbra Rove desc ifs fom Greenberg no very important way Fst her roc: om accepted ange of histor tafences Unie Pred ‘who saw ll asic development relating wo the “pie in” oe mone red peteving some pining ‘ncling concep! deco egaring sinc, oes alow at 1 ioe questions trom ote any asc rogieso. Second ais nt pase at wo sete ‘elton, The ast aes menu ad paps tcsions. Changs ae ot newb hy do nt fle 2 atta htory" of a penfction® Rave deste how the young ts compaison ey Mev nt champ, bring consideration ha ae ouside Meet ‘tise thinking the wrk and get a neve colidonsy progression such as Gaeneg “Modernist Redaction” demands Rose isms are valuable in tha yep 0 staloge Modernist dhaing by ce evan ele ofthe ais al the kins of cos that re de in the proses of erening 3 work of ar Unie Ped eho snp fora single ew of sory, Roe es on oy 523 seve rt hil pecfen ty oar ee agumet In ber examples, she ates find an at hsoneal inence tha scarey fis the ork othe youn aie even hough sch source ma ot ee em the ee {te past nr show nese gression of “pir als Though Rose extinns open up oer posible of diesion, her insence on fing one af move ‘ment est another ws chascei of the Moiese craic’ peace of linking oremporary work wor OF the past anepivocaly. {cy Lipa was alo tempest fd an a iso ‘alk forthe work being poded in the 196 She beg, he ots by gare msn te econ ‘of Dad Smith king fo some progressive deseo tment ted om fr! Thin al flowed at ety at Greenberg Materia kel ad ‘enna and evolutionary syle path. Wa sere ‘oe unas opp! wa hat Nisa eed es Ipom s“ngaine premise" denrg cron, nen, ta preceent. Tapp lah ew work “Reject ‘ein an tempt ocr the ts with hese cages ‘ater ha ace a wave progression! By her dsc the young ists became responsible, heal egal andi conrl of the wok tha they palace, Aeviog ay pas aestiese development [Eppard more than ane oher ec aig span ber accion of sesh lancet icine owe (hen one play source. Sbe gst ny movement can be een a3 poeble sence 3 he ‘eines the "lvery ble” fo Minima see Hse this inaence soe ave acepeance of st ses Lipid es respons othe atts, tho, Throgh their work, seep vary of alae ae enna a reeramtntin of Medemet cio, ipa ic also wing so cep shat inher ight oe fo cee at soil oares. Though she (der ao ce specie examples wk so wh he Joong tis ned, there wee pen of precedents tobe found in oer ates of ase" No oa Lipp expand he atin of presedet 8 » “EVEN wile USING THE METHODS ADVOCATED By THE ARTISTS SOMETHING ‘wir ‘THE WORK REMAINED UUNACKNOWL- EDGED.” 524 “Moprrwist PaINTINGs RELATE DIFFERENT PARTS 01 THE IMAGE, IN sucH A WAY AS TO construct AN IMAGE.” ay Fos Merion ‘nc mall hits in nes she accept sethese Sources tert ofthe media Beng dad at mip ince dance or deer. The cempeay of inflcoes Lipa proposes powerfly aman tne us of crs chat had cone conrad to Mover hohe Althoh these cbc a erent aides with "eect art hori infees, they wee a ray ote o discus Minis Sep Ia somo to 4 from the 19805 the work pce Jule Me Ait and Basin spaced ea cing nt betng ‘n conventional ari quae, pincply ethos Descivions ofthe woo fm the 18s ced fora, ol, ad ost foal elements ht coer {0 a undesandig of “itera” ay The nov fom the 19s could mo be discus inthe suey The ‘ered to he no comcsions tn be denn fms wo Sz, shape, and clo. Formals cca ened in gle ‘sspion acca method adv bythe ann whch tl or sapport he ees dese nego teventon or meaning, The wens shames os oat ‘then in 1964, ze eat wring oa ter sy anyone wou bl smething only sey pee ‘There isnt api co ok The iabity ttle aboot he work conto wel two th 1905 when the wok of Jad Mow seg ‘tts wns acaly peeved ata ate mosomenn, sen the Piney Sasa sha the Jovth Messen (2260) on€ of the Sse major shows wo eine new ‘onda cag fll of ene that sly eeased cn ‘he work of he young ais os male "ak Jub who found the woo eas he peep i of the wok “prety using Ligpan Rene et ‘ed an resco confctatonal quay Linen rot ofthe young ass that they “ar ane tehet mos a he eves of both ping on oe rime sharon re fo the wee ng Pint ha he ai wa ta mete wo debe he ey * cee oS oe ooo Soe Soto soas es Sera rsceore Se Soe aes Scere ae Soot eS See (Yee teipen peoreninamine Seo are SSS es Saas bother non peat ea eee aS See eee page geetimnratenohyl nian SS ee a oe Soca ee ea ee ee eee Soe SE 526 acy Post Moderns omponens of col ines gestae ae themseies “poral” snd “bog to painting”? Shapes dat long "pang thet, definition, “pecoa” ‘Modernist Scalp aloha stam atral el ions t he “pit” Fed opens sao o¢ Antony Cars wok desebing how this 20 Onagee (0909) consist oF 2. namb of dere aot ree ght characterise, whose muta sepia «= “rae rons of “pico” ature Though Fld then dices how ths woo is nie ping becuse i in hc densi the “pc teeing has both aig scape raatsin x ela tothe “pcos” in ones 0 develep onus he rrp tive modern eae But Frcs principle jection of sch wk not dat "tot pictona”ie hae been seen that he ees of arise deions 25 pictorial” He objets heft tat ‘contains no ision, metaphor, or vocation of men ing Sach ook refers tos mata qu nd by ea som out relish to hat objec. This arenes ofthe *ritonment caused by the objets cena res ony “ea bjs” A ter” objec not at een, tenon troghr wo ehigs beyond the jer Fa ‘old the spect of wok that incorpo th ete Stato, he seupeate an eveything oid ech ‘yay tat he elaoship between she objec and the, ewe is one of eppositon “thetic Ther, ' tings dw atemion wo thir postion within sree nme by hr non-latin "ptr foc sa ch amarenes by defini thease a ch bec, ‘by the shige, donot ele pining sespne s 2 her objets, ten “eran” ad heap ‘se simulaneonsr and ae intrdepenen ti mormatie ro conser Stanley Cavell king, ‘on heater expos the conntctom between “hc and tea” Acknow edged by Fad ae 4a "flr ia edo the devedopnent of ht soap "Ar and Otjethoo” Cael dae he Belo ees "eras." In Decker plays Cv inh tae onde ‘mean ony what the tela even meaning tots S27 n understood trough we Heche dagen com les, tii inet Te words sew obscais ac0out pth ad seem wif to dart comprehension and ten lime fe ime we cosa the mang hs been mised onl ees an so ue te ‘ool theteforeuniceby ie separ eee ee RCO Cate Soran ees! Pomerat dpreyfaeperi Priserratrenderentiontaned theo bg vargas Saranyeeces ea ees Semen Ee 2ynteg ine coat ee ee oars Teter tre ety nee eat Tey beteadiarapeirianeatiramastn Jn Beck thee so oe towns which he coe «20 rans inligen, nd eas tinge £0 ails menc han i chance won coe ves. Teter Becomes the bt caps et of separateness: arma In ot in pate orm of tees, brie thet sc (Cavell eins “thea” athe which sepa he ctor and he mance adi cing du steno ‘0 that oppeniion. Incoagrheny sponge ts ‘canons Both Caves noo “epamtoesaed Faas concee of “stance,” ake] looker A subject and he ice in question «an et Te ‘ork of Juhl Mort, sen ad Ae efor funeton of sarin by ng pla mut ede aston the viewers poston nan othe ec Modern “hes” and "ert, here, proven 528 * Ent PoseMaeni ‘rnd the same penton of septation pin materiale ‘4 pain speech rina rl seating the uence fom the noe “Thea” in espe cite heater a at does ‘0% spl happen. Atel he vewer nd he ter pe ‘mos as dines ens Ii the rence o he ference ta ice Whats abo Moa tat eawsatenion tthe sition? Cre ay op us under his point of view a ‘well Whoncllouil speech an iene harpeed these, the dao seems sb ad eptic: Par othe reson for these nave decrpions is tu ee ern i of compeeension, the rence ofa ee oe gil phase, cr shoe Espesitio is ot ied sah the wwe ono he cl uly o aig oF the wont Asithas hee aged ay inthe 900 he axes ‘na expel ro ext cle histone innce, mes ing oro quate an x sonnerion to Maken Fed in paca, expected the “ctrl” Waone er rebonship 6 any oe of these chara the ‘ork appeiced mening ype a cold rere scot. As wth thee, an unsaid epecon ‘east incrpeebesbiy an» confronts mood, Both tates visual at Become sbop, ua se) sepresiv: The experince of thee works cheat tiey nor hea he wins themes stems ally espomiveat elf doesnot have on bur roel eens xno nt Realing econ in his the econ of the ‘wv thar twat the wim eto aw of wha was ep As atone eater th Peg Src exo wed neg detion smn eck ‘vcr One reviewer wees "Fhe wot] on Hee, (emo spontancons, excise Hed ne tone Sech desctpions ber the eviers capa of spony inca a rata prcobgc fet “Theseaiy” is therfore got ely ht whch sms atention the ison berwecn sewer aa objet bat alo that whch breaks espero 529 When expectation is deni the expences broken and the aulence Becomes donated from the work Iie "his experience more shan ay tee het "eat" Batti kind of ascend seperation oe the oni wet view hs woke Rowrt Mortis one othe os nporane ars ofthe Ph sees the atapon of object viewer a2 prtipory event He wotee [he iewing expen iin some wa reflexive beciie one aware fone etn in the ‘ame space athe work song than i pes, ‘us work witht many inlets re enero eas See 0 fovea ee Sarees ene a pon ete te seater See Soa eee ce Se ees Sec eens _ - “As verre, THEATRE, AN UNSATISFIED. EXPECTATION LEADS TO INCOMPREHEN- SIBILITY AND A CONFRONTA- TIONAL Moon” 530 Ely Pose Moderns eek rested a ear or eoloary view of ait wa 20 longs posble fr one dominance vce acompass Minima, ‘Te ig ofthe 195 bean cet the wy 2 the dint parsign,nanely Modernism Ii, artempes of the ris ods the wok of Jada Mots avin ad Andie were inet fro pig Pe reasons Fi tcns sachs “pico” weve np ‘ie co nbs he importace of the work Secon, cls liner sa development, een ene nvling formal developers pote tobe inciccne Oa through descpcion of te acta viewing capone, Srcompecensble ait xe, col the capeonoons of [Moderns etn be pt se making sre aes seal weal Later ci wa ae ode ko inet aes alkene ft eyeing ‘har not ony alow the potion ofthe sewer tr (he inckson of mulple real influence te con ties. Once the incaon and experience ofthe ves ‘er conde, er ciel ells sch sears ‘hia and pst noderntan ed deen 531 Notes 1. Nik Kay Pe Madatig nt Pima New Yor Se nari Psy 0 5, 2,24 eto Ma A Gna tai a iron Cee oC a, a $e Re ABCA i hte

    You might also like