Choreography, Visual Art and Experimental Composition 1950s–1970s

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Notes

1 Yvonne Rainer, ‘A Quasi Survey of Some “Minimalist” Tendencies in the Quantitatively Minimal Dance Activity Midst the Plethora, or an Analysis of Trio A’, in Minimal Art: A Critical Anthology, ed. Gregory Battcock (Berkeley: University of California Press, 1968), 263–273.

2 Thomas Crow, cited in Erin Brannigan, Choreography, Visual Art and Experimental Composition 1950s–1970s (London: Routledge, 2022), 9.

3 Brannigan, Choreography, 39, 41.

4 Donald Judd, ‘Specific Objects’ (1965), in Art in Theory 1900–1990, ed. Charles Harrison and Paul Wood (Oxford: Blackwell, 1992), 812; Yvonne Rainer’s description of Simone Forti’s work cited in Brannigan, Choreography, 56.

5 Brannigan, Choreography, 107, 109.

6 Lynn Zelevansky, ‘Sense and Sensibility: Women Artists and Minimalism in the Nineties’, in Sense and Sensibility: Women Artists and Minimalism in the Nineties exhibition catalogue (New York: Museum of Modern Art, 1994), 7.

7 Mari Carmen Ramirez, ‘Tactics for Thriving on Adversity: Conceptualism in Latin America, 1960–1980’, in Global Conceptualism: Points of Origin, 1950s–1980s exhibition catalogue (New York: Queens Museum of Art, 1999), 53.

8 Miwon Kwon, One Place After Another: Site-Specific Art and Locational Identity (Cambridge, MA: MIT Press, 2002).

9 Peter Osborne, Anywhere or Not at All: Philosophy of Contemporary Art (London: Verso, 2013).

10 Brannigan, Choreography, 4.

11 ‘Minimalism: Space. Light. Object.’, MutualArt, accessed 18 January 2023, https://www.mutualart.com/Exhibition/Minimalism—Space—Light—Object/0A7599DF607C428B.

12 Susan Best, It’s Not Personal: Post 60s Body Art and Performance (London: Bloomsbury, 2021).

13 Yve-Alain Bois, ‘The Difficult Task of Erasing Oneself: Non-Composition in Twentieth-Century Art’, Institute for Advanced Study, March 7, 2007, https://video.ias.edu/The-Difficult-Task-of-Erasing-Oneself.

14 Moira Roth, ‘The Aesthetic of Indifference’, Artforum 16, no. 3 (Nov 1977): 46–53.

15 John Cage, cited in Brannigan, Choreography, 51.

16 Brannigan, Choreography, 4.

17 Benjamin Buchloh has drawn attention to the consistent omission in the histories of the 1960s and 1970s, his own included, of women’s body-based practices. He argues that insufficient attention has been paid to how these practices operate as ‘counter-activities’ to the main practices art history has used to characterise the period. Benjamin H. D. Buchloh, et al. ‘The Reception of the Sixties’, October 69 (Summer 1994): 18–19. On Brandon Joseph, amongst others, see Brannigan, Choreography, 6.

18 Robert Morris, cited in Brannigan, Choreography, 102.

19 Robert Morris, ‘Judson at 50: Robert Morris’, interview by Lauren O’Neill-Butler, Artforum, December 31 2012, https://www.artforum.com/interviews/judson-at-50-robert-morris-38415.

20 André Lepecki, ‘Zones of Resonance: Mutual Formations in Dance and the Visual Arts Since the 1960s’, in Move. Choreographing You: Art and Dance since the 1960s, exhibition catalogue (London: Hayward Publishing, 2011), 155.

21 Brannigan, Choreography, 6.

22 Claire Bishop, ‘Performance Art vs Dance: Professionalism, De-Skilling, and Linguistic Virtuosity’, in Is the Living Body the Last Thing Left Alive? The New Performance Turn, Its Histories and Its Institution, ed. Cosmin Costinas and Ana Janevski (Berlin: Sternberg Press, 2017), 40–45.

23 Sigrid Gareis, Georg Schöllhammer and Peter Weibel, ‘Introduction: Event – Trace – Context. On the Relevance of Historical Performance in the Exhibition Space’, in Moments: Eine Geschichte der Performance n 10 Akten, exhibition catalogue (Karlsruhe: ZKM, 2012), 354.

24 Peter Weibel, ‘The Performative Turn in the Exhibition Space,’ in Moments, 357.