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Yvonne Rainer papers, 1871-2013 (bulk 1959-2013)

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Rainer (Yvonne) Papers
Series III. Works, 1960-2005, undated 7 Linear Feet (16 boxes)
Photographs that document Rainer's work and performance, including her films, are filed in Series VII. Additional programs and reviews for these events, and programs for the events of other dancers and performers, especially at Judson Church, can be found in Series V. Audiovisual documentation of Rainer's work is in series VIII.
Some folders include notes by Rainer that briefly describe items loaned to Sally Banes for research and never returned to the files. The current whereabouts of these items is unknown.
Arrangement note
This series is arranged in three subseries: files relating to Rainer's dance, performance, and film works; scores and scripts by Rainer and others; and writings by Rainer in manuscript and published form.
Dance, performance, and film, 1960-2005, undated 4 Linear Feet (9 boxes)
The subseries begins with Rainer's comprehensive resume. Dance files include dance scores, drawings, descriptions of dances and choreography, notes, directions for performers, programs and fliers, information for programs, and reviews. Files on Rainer's films include scripts, shooting notes, production notes and notebooks, production schedules, production stills, accounting sheets, budgets and files on distribution and sales.
Arrangement note
Files are arranged chronologically, with some exceptions.
box folder
21 14 Résumé, undated
21 14 Watering Place score, circa 1960 4 page(s)
Orange crayon, pencil and ink on unlined paper with rounded corners. At the top of each page: "Instructions for..." and the name of each dancer: Steve, Ruth, Marnie, Paul. According to Rainer, Watering Place was never performed outside of Robert Dunn's workshop (Merce Cunningham's studio, New York City).
21 15 Three Satie Spoons, copy of score, 1961
Colored crayon on paper with handwritten description by Rainer in pencil on the reverse. Rainer's first choreographed solo.
21 16 Ordinary Dance, score and monologue, 1961-1962
Score, pencil and ink on paper.
Terrain, 1963-1965
Scores, typed and handwritten; Spencer Holst, On the Truth, and On Evil, in handwritten and typed form; programs; reviews; posters and flyers. Poster designed by Robert Rauschenberg.
box folder
21 17-18 Scores and notes, 1963
Typed and handwritten for various sections: "Bach," "Holst Solos," "Diagonal Section," and other directions for dances and notes.
21 19 Programs and reviews, 1963-1965
Programs, announcements for various performances; 1963 review by Jill Johnston; poster: An Evening of Dance, designed by Robert Rauschenberg; also, program for The Dance at Judson Hall, 1963 Feb 15, Ten performances, which do not include Terrain.
21 20 Dialogues, 1964
Two versions of a script, one in manuscript and the other typescript (and carbon copy and photocopy). Four pages of notes with sections: "with Cindy," "Cindy," "Weights and Measures," and "with Judy."
21 21 Parts of Some Sextets, 1965
Score; notes; program with annotations; photocopy captioned: "two stories from a forty-five minute tape taken from the Diary of William Bently, used as a sound track for Parts of Some Sextets."
Carriage Discreteness, 1966, 1998
Performed as part of 9 Evenings: Theater and Engineering, produced by Experiments in Art and Technology (E.A.T.) at the 69th Regiment Armory, New York City, 1966 Oct 15.
box folder
21 22-23 Typed description and other materials, 1966
Typed description of Carriage Discreteness, list of objects for the piece. Also includes a review of a performance, and information about the piece by Per Biorn, a performance engineer.
21 24 9 Evenings: Theater and Engineering, 69th Regiment Armory, New York, 1966
Press releases, reviews of 9 evenings events. Also includes materials titled "Projects for Stockholm Festival."
box folder
22 1 Documentation provided by Julie Martin, 1966, 1968
Documentation of Rainer's piece Carriage Discreteness sent to Rainer by Julie Martin with a letter, 1998. Photocopied documentation of 9 Evenings event produced by E.A.T.
22 2, 4-5 The Mind is a Muscle, 1966-1968
Programs, reviews, letters, sample of silver material. Includes programs for Brandeis and Spoleto performances. Also includes annotated paste-up program for performance at Anderson Theater, April 1968.
Trio A, 1966, 1997, 2001-2005
box folder
22 6 "Dance Talking: Trio A", 1966
Text of lecture with note that it was for publication in 0 to 9 magazine; notes, clipping of an essay by Vladimir Nabokov (from New York Times Book Review).
22 7 Letter from Pat Catterson, 1997
22 8 London International Summer School, 2005
Printed text; Rainer taught Trio A at the summer school.
22 9 Greg Catellier, 2001
Letters from Catellier, who learned and performed Trio A.
22 3 Trio B scores, 1968
Two drawings, pencil on graph paper: Trio B Second Part, and Trio B running. Performed Anderson Theater, New York City.
22 10 Performance Demonstration, 1968
Some materials in this folder (including negatives) were originally in a folder with a note from Rainer that said, "Performance Demonstration - maybe?" Black-and-white negatives are in Box 94.
22 11 Connecticut Composite, 1969
Typed description, scores, programs. Performed at Connecticut College, New London, CT. Connecticut Composite included an early version of Continuous Project Altered Daily.
Rose Fractions, 1969
box folder
22 12 Billy Rose Theater, New York
22 13 Program information, scores and programs, and correspondence
Includes letter from Carl Andre written on graph paper about the performance.
Continuous Project, Altered Daily, 1969-1970, 1998
box folder
22 14 Programs, contracts, flyers for performances, 1969-1970
22 15 Handwritten notes and directions for performances, letters, 1969-1970
22 16 Copies of score, texts, 1969-1970
Apparently scores used in Connecticut Composite, then reused for Continuous Project, Altered Daily. These papers were in a folder that was labeled "from Continuous Project, shown at MOCA [Museum of Contemporary Art, Los Angeles]."
22 17 Laban notation score, 1998
box folder
133* 12 Scores for CP-AD "Chunks and Insertables"
Three hand-written copies/versions on graph paper.
133* 12 Oversize clipping
From the New York Review of Books, part of an article about People's Park.
box folder
22 18 War, 1970
Scores, other texts. War re-used parts of Continuous Project-Altered Daily and was performed by Grand Union.
Grand Union, 1970-1972
Programs, brochures. See also files on Touring.
box folder
22 19 New York University, 1970
Grand Union and War. Description of piece and contract with New York University.
22 20 Grand Union Dreams, 1970-1971
Scores and programs. Also in Box 23, folder 1.
box folder
23 2 Handwritten dreams of Grand Union dancers (?), circa 1971
23 3 Programs, fliers, and public relations material, 1970
23 4 Biographies of dancers, 1970-1971
Typed and handwritten - Grand Union dancers?
23 5 Correspondence, 1970-1972
Some letters relate to the incorporation of Grand Union, others to tours and performances. See also files in Series V for more information about Grand Union performances at various venues.
23 6 Performance, 1972
Script, etc. Includes Instructions for Story section from Lives of Performers, first performed in Performance, Hofstra University and the Whitney Museum.
Lives of Performers, 1972, undated
box folder
23 7 Working script, draft pages, 1972
Handwritten on yellow, lined paper. Lives of Performers is Rainer's first full-length film, and includes actual footage from the rehearsal of one of Rainer's pieces, Walk, She Said.
23 8 Original script and related pages, 1972
23 9 Wall text, 1972
Text is on index cards. Corresponding black-and-white slides, :identified as "Slides for Brenda" described in "slides" section below.
23 10 Script, 1972
Two copies of typescript.
23 11 Distribution, 1972
Letters and receipts regarding distribution and sales, plus one sheet of corrections to be made to future copies of the video/film.
23 12 Pandora's Box (Lulu), G.W. Pabst, 1972
Paperback copy of book, with film stills cut out and loose. Source for Lives of Performers. Also used to illustrate Work, 1961-1973.
7** Louise Brooks, Delta Productions, Montpellier, France, undated
Slides, 1972
96 Text slides for ocean, English
31 duplicate slides.
96 French text, tray 1
33 slides. Up to "she starts to leave...".
96 Text slides for ocean, French
30 duplicate slides.
96 French text, tray 1 (end), tray 2
15 slides.
96 English and French text
27 duplicate slides.
96 Slides for Brenda
9 slides.
box folder
23 13 In the College, 1972
Notes and typed "Narrative suggestions." Piece created at Oberlin College, Oberlin, Ohio and performed 1972 Jan.
Photo Romanza, 1972
Black-and-white photographs and notes for the poster designed by Rainer. See also Box 24, folder 8, Kristina (For a....Opera) published in Interfunktionen, 1975, edited by Benjamin Buchloh, photographs by Babette Mangolte.
box folder
23 14 Photographs and notes
8** Oversize
box folder
23 15 Sentimentale, 1972
Magazine that served as a model for Rainer's Photo Romanza, purchased when she was in Italy.
Inner Appearances, circa 1972
box folder
30 1-2 Wall texts
137* Inner Appearances props
Items used for performance: sun visor, toy gun, wrapped package, etc.
box folder
23 16 This is the Story of a Woman and Man Who..., 1973
This is the Story of a Woman Who..., 1973
box folder
23 17-18 Scripts
Parts of the script, outline of sections, including Inner Appearances, Shirley's Dream and Grand Union Dreams pieces (for performance at Whitney? Theater for the New City?), plus flyers/programs for these two venues. Also includes part of a script, photographs, flyers, letter from "Steve," lighting and sound cues.
box folder
24 1 Wall projections
Texts for wall projections, index cards with text, "Instructions for the performance of Inner Appearances," which was incorporated into This is the Story...
24 2 Annotated photographs
With mailing list, flyers, images of Rainer and train (from newspaper), and two posters: 5 Evenings (Boston) and questa e la storia di una donna che... (Rome).
Film About a Woman Who..., circa 1974
box folder
24 3-4 Script
24 5 Titles
24 6-7 Notebooks
Two notebooks with shooting notes.
"Kristina (For a...Opera)," 1975
box folder
24 8 Interfunktionen, no. 12
24 9 Collected images
Photographs, images clipped from publications used for the publication "Kristina (For a...Opera)" in Interfunktionen, 1975.
Kristina Talking Pictures, 1976, 1978
box folder
25 1 Script, first draft, 1976
Handwritten and typed pages.
25 2 Shooting notes, 1976
25 3 Sixty-two index cards, 1976
25 4 Script, notebook with shooting notes, 1976
Script is partial.
25 5 Film strips, production stills and photographs, 1976
25 6-7 Collage images, 1976
25 8 Script annotated for Afterimage, 7: 37-73, 1978
Journeys from Berlin / 1971, 1978-1980
box folder
25 9-10 British Film Institute, 1978-1980
Letters, budgets, contacts relating to BFI support for production costs of the film.
box folder
26 1 Working notes, 1979-1980
Extensive notes, prospectus for the film, black-and-white photographs of hand holding a stone (negatives in Box 94).
26 2 Images for Journeys from Berlin/ 1971, 1979-1980
Black-and-white photographs, postcards.
26 3 Research, 1979-1980
Clippings, articles from newspapers. See also folders on Baader Meinhof, Box 45, folders 5-7.
26 4 Production notes and schedules, 1979-1980
26 5-8 Scripts, 1979-1980
26 9 Story of a Filmmaker Who..., 1980
Text of lecture performance (?) and cues.
The Man Who Envied Women, 1985
box folder
26 10-12 Scripts, prospectus
Three scripts, plus prospectus; budget for film (?)
box folder
27 1-5 Production notebooks and budget
Includes production schedules, cast and crew lists, notes, script, and list of shots. Includes typescript: "The Man Who Envied Women: Collage with Martha Rosler," 1984 June 23; a dialogue between Rainer and Rosler.
Privilege, circa 1990
box folder
27 6-9 Scripts
Script in folder 8 is annotated; see also color photographs in Box 91.
27 10 Production
Notes and accounting sheets for payroll. Description of project.
27 11 Carlos
Photocopied articles and notes related to background of this character.
27 12 Rights
Mostly relating to music.
27 13 Distribution
MURDER and murder, 1996-1997
box folder
28 1-5 Scripts
Includes three scripts and one annotated shooting script.
28 6 Shooting notes and scene break-downs
28 7 Budgets
28 8 Credits
28 10 Distribution
box folder
29 1-4 Film festivals,
29 5 Lesbians and cancer
Information for distribution of film.
29 6 30 anos de dança
29 7 Letter from Barbara Haas regarding role of Doris
Color photographs in Box 149.
29 8 Mailing lists and phone numbers
29 9 Music
29 10 Music rights
29 11 Script
Photocopy from Performance Art Journal.
29 12-14 Production notebook
29 12 Notebook/folder with notes attached
See folders 13-14 for papers that were inside.
29 13-14 Production papers from notebook
Regarding production and post-production.
After the Summer Dies the Swan, 2000-2002
box folder
30 3 Carl Schorske, Vienna Fin de siècle, annotated copy
Rainer's source for After the Summer Dies the Swaan.
30 4 Notes and images
30 5 After the Summer Dies the Swan - Hybrid
Typed and annotated working script, photocopies of photographs and texts for video.
30 6 Unidentified and undated materials for works, undated
Two newspaper clippings titled "Child Hood" and "Adult Hood;" one clipping of sites in Egypt; one typescript page for a slide, beginning "I am tired of your cunning and docility..."
Scores and scripts, circa 1960-1966, undated 0.2 Linear Feet (1 box)
This subseries consists primarily of scores related to Rainer's dance work from early 1960s, but also includes scripts by others that may have been for the New York Poets Theater.
Arrangement note
This subseries is arranged topically.
box folder
30 7 Philip Corner music scores, undated
Three handwritten scores:" Joyous Flashes" [composed in 1958], "Passionate Expanse of the Law" [composed while Corner was with the Judson Dance Theater between 1962 and 1964], and one untitled sheet [part of "Passionate Expanse"?].
Arrangement note
This subseries is arranged topically.
30 8 Eric Satie 3 Gymnopedias, undated
Used by Rainer for Three Satie Spoons.
30 9 Dance scores, undated
Photocopied floor plan and "people plan" [ Connecticut Composite]; crayon drawing of multiple colored lines [see similar drawing in notebook]; note regarding items borrowed by Sally Banes.
30 10 Dance scores in notebook, circa 1962
30 11 Dance scores for Blam Blam Blam, Dialogues, 1962
30 12 "Duet with Darius," 1962
Written in pencil on the back of a poster for James Rosenquist.
30 13 Two unidentified dance scores, undated
Handwritten on yellow note paper: "New stills."
box folder
205 4 Carriage Discreteness, 1966
Scripts by others, undated
For New York Poets Theater?
box folder
30 14 Tropismus, Sorrenti (?)
30 14 Faust Foutu, Robert Duncan
30 14 A Scene by John Wieners
30 14 Our First Gobi Fossils, Larry Loonin
30 14 Calling: A Happening for performers only, Allan Kaprow
30 14 [Three scenes written as letters (?)], Al Mazza, Jr.
30 14 What Happened, Gertrude Stein
30 14 Shopping and Waiting: a dramatic pause, James Schuyler
Rainer writings and publications, 1963-2005, undated 2.6 Linear Feet (6 boxes)
This subseries contains Yvonne Rainer's writings in manuscript and published form, including handwritten notes.
This subseries is arranged chronologically with undated materials at the end.
box folder
31 1 "Some thoughts on improvisation (for painter James Byars)," 1963
One handwritten, one typed manuscript.
31 2 "Sleeping," 1964
Two pages handwritten text (one sheet) untitled with first line "I want to make a dance about sleeping." With published copy in ICA Bulletin, Dec 1965.
31 3 "Dwarf syndrome," 1965
One-page typed manuscript, a statement about dance dated 1965 Oct 3.
31 4 "Rreeppeettiittiioonn iinn mmyy wwoorrkk," circa 1965
Three typed and one handwritten manuscripts.
31 5 "Some retrospective notes on a dance for 10 people...," post 1965
One handwritten and two typed manuscripts, with photocopy of published work in Tulane Drama Review.
31 6 Lecture on movement, 1966
One typed and one handwritten manuscript and notes on four index cards. See also Rainer's 1965-1966 notebook for an earlier version of this text.
31 7 "Quasi survey of some minimalist tendencies...," undated
Typed manuscript, and printed pages from Gregory Battcock's book, Minimalism, where it was published.
31 8 "Account of my career," circa 1966
Essay for grant application? With list of performances and statement of purpose.
31 9 "Notes on Two Dances by Deborah Hay," 1967
In Ikon, February, 1967: 2-3. One issue of the Journal.
31 10 "Don't Give the Game Away," 1967
Manuscript, typed and untitled; photocopy of published article; and one issue of the journal Arts Magazine, April, 1967: 44-47.
31 12 Jill Johnston, 1969
Untitled typed manuscript about Johnston, three pages.
31 13 "Statement about muh moovies for Annette Michelson," circa 1972
Found in a folder with material about Lives of Performers.
31 14 "From an Indian journal," 1970
Handwritten loose notebook pages from Rainer's trip to India funded by E.A.T. With photocopy of published version in Drama Review, 15 (T-50, Spring 1971): 132-138. See also Rainer's notebooks for her India journal, Box 2, folder 1.
31 15 "Dancing Ladies," 1972
Statement about title of dance performance series arranged by James Waring, "Dancing Ladies."
31 16 Writings, 1972
Two untitled texts, typed, one page each. One on literary sources of Rainer's work, the other about performing and movement.
31 17 "Parts of some sextets," after 1974
Typed essay about this piece, with annotations. With photocopied photographs by Peter Moore.
31 18 "Film about a Woman Who...," (script) 1976
In October, 2. Two issues of the journal.
31 19 "A Likely Story," 1976
Four copies. Paper delivered 1976 Sep 3 as part of the International Forum on Avant-Garde Film, Edinburgh Film Festival [A paper with the same title was published in Idiolects, 6 (June 1978)].
31 20-21 "Annotated selections from the filmscript of 'Kristina Talking Pictures,'" 1977
In No Rose, 1, no. 3. Four issues of the journal.
31 22 "Introduction to the second edition," 1979
For Works, 1963-71. Two copies.
31 23 "Backwater: Twosome / Paxton and Moss," 1979
31 24 "Beginning with Some Advertisements for Criticisms of Myself, or, Drawing the Dog You May Want To Use To Bite Me With, and Then Going On To Other Matters," 1980
In Millennium Film Journal, 6 (Spring 1980): 5-7. One issue of the journal.
31 25 Texts about Journeys from Berlin / 1971, circa 1980
Five typed manuscripts, one of which is a Letter to the Editor.
31 26 "Incomplete report of the first week of the Edinburgh International Film Festival, August 17-30, 1980, and Musings on Several Other Films," 1980
In Idiolects, 9-10: 2-6. One issue of the Journal.
31 27 "Looking Myself in the Mouth," 1981
16 pages typed and annotated, with some tape. First published in October, no. 17 (Summer 1981): 8-12. Two photocopies of article, one with handwritten notes.
box folder
31a 1 "More Screaming and Kicking from the Narrative Front / Backwater," 1982
31a 2 "Trisha Brown: engineering calamity," 1985
Clipping of article by Rainer, published in the Voice September 17, 1985.
31a 3 "Rainer on Rappaport," 1985
Typed manuscript and published article in NY Talk, November 1985. About filmmaker Mark Rappaport.
31a 4 Texts about The Man Who Envied Women, circa 1985
Four manuscripts: Interview with Rainer, Minneapolis, 1985 Sep 8, Bill Horrigan, Valerie Ellis, Helen DeMichiel; plus three texts by Rainer, typed with annotations.
31a 5 "What's wrong with Ross MacElwee's 'Sherman's March,'" 1986
two typed pages.
31a 6 "Some ruminations around cinematic antidotes to the Oedipal net(les) while playing with De Lauraedipus Mulvey, or, he may be off screen, but...," 1986
In Independent Film and Video Monthly, 9, no. 3 (April 1986): 22-25. Clipping of article and three issues of the journal.
31a 7 "Thoughts on Women's Cinema: Eating Words, Voicing Struggles," 1987
Clipping of article by Rainer, published in Independent Film and Video Monthly, 10, no. 3 (April 1987) and four issues of the journal.
31a 8 "The Man Who Envied Women" - script, 1987-1988
In Women and Performance, 3, no. 2, #6 (1987-1988): 103-160.
31a 9 "Responses to Coco Fusco's 'Fantasies of Oppositionality,'" 1989
In Screen, 30, no. 3 (Summer 1989): 91-98.
31a 10 "Tea for Two," 1980
Rainer (with Simone Forti), in Contact Quarterly, 15, no. 2 (Spring/Summer 1990): 27-31. Journal issue and typescript of the article.
31a 11 "Work of art in the (imagined) age of unalienated exhibition," 1990
Typescript of article by Rainer, published in Discussions in Contemporary Culture: Democracy, a project by group material, 1990, and issue of the journal.
31a 12 [Unititled] "Shirley is gone," after 1980
Six-page typed remembrance.
box folder
31b 1 "Privilegien und Risiken, Ein Interview mit Kurt Eastwood, Susanne Fairfax und Laura Poitras," 1991
In Frauen und Film, June 1991. Two issues of the journal.
31b 2 "Narrative in the (dis) service of identity...," 1991
Three copies of typed manuscript, photocopy of published article in Review of Japanese Culture and society, December 1991, and issue of the journal.
31b 3 "Working Around the 'L' Word," 1991
Two versions of a talk delivered at DCTV 1991 Oct 13, "Lookout: Lesbian and Gay Television Festival."
31b 4 "Preface: The Work of Art in the (Imagined) Age of Unalienated Exhibition," 1991
Discussions in Contemporary Culture: If You Lived Here, The City in Art, Theory and Social Activism, 1991.
31b 5 Letter to Artforum, 1993 Sept
About Lizzie Borden's piece on Trisha Brown and Rainer.
31b 6 Letter to October, 1995
October, 71, "Feminist issues" (Winter 1995).
31b 7 "The End of More Than a Century," 1996
Written for X-Factor, faxed 27 August 1996.
31b 8 Article about Robert Dunn, 1996
In Movement Research, Performance Journal, 14 (Spring 1977). The issue commemorates the legacy of Robert Ellis Dunn.
31b 9 "MURDER and murder" - script, 1997
In Performing Arts Journal, 55 (1997): 76-117.
31b 10 "Pedagogical Vaudeville 3," 2001
In PAJ, no. 67 (January 2001): 48-61. Two copies of the journal.
31b 11 " Trio A: Genealogy, Documentation, Notation," 2005
In Dance Theatre Journal, 20, no. 4 (2005).
31b 12 "Reflections and dogmas of a dogged dog," undated
Text, largely about chance, written in ink on large sheets of colored construction paper.
31b 13 "Film and performance," undated
Photocopy of published text, multiple copies.
31b 14 [Untitled], undated
Undated. Typed questions on yellow notepaper, with annotations.
31b 15 Text about hospital and cancer, undated
Untitled handwritten manuscript, three pages.
31b 16 Four manuscripts, undated
"Talking" (one handwritten page); "An Apology" (two handwritten pages); two typed pages about a duet later incorporated into a dance for 10 people and 12 mattresses; a dialogue (two handwritten pages of four), the first line of which is "It is so lovely to have changing."
31b 17 Five manuscripts, undated
"V-O dreams" (one typed page); "Food memories in the morning" (one typed page); "A List of shameful conditions and occurrences" (one typed page); untitled one-page typed manuscript, the first line of which is, "He thinks he is getting away with something"; untitled one-page typed manuscript, the first line of which is, "My father used to tell this awful joke...."
31b 18 Seven manuscripts, undated
One typed page of quotes; "Keening for women" (one handwritten page); "Reverie" (two handwritten pages about quality of photography in Rainer's films); Two handwritten pages about Rainer's aesthetic of time; One handwritten page of a sequence of actions (a dance or an exercise?); two typed and handwritten pages about the artist and social responsibility; "Coordinates of speech and image" (two handwritten pages about film clichés); two handwritten pages about a diner and short order cook (relates to a scene in Rainer's diary).
31b 19 Annotated file folder, after 1961
Notes about dance and performance works written on folder in pencil.
31b 20 Two pages of notes, undated
Work, 1961-1973, 1974
Materials for production of the 2nd edition of Rainer's book about her work, published 1974 by the Press of the Nova Scotia College of Art and Design. Includes photographs of scores and other non-photographic illustration media. Professional photographs of performances that were used in the book are in Series VII. Photography; they can be identified by the page and illustration number which are written on the back of the photograph [blue pencil].
box folder
32 1 Copy of the 1st edition of Work
Annotated by Rainer in preparation for the 2nd edition.
Photographic materials used in the book
box folder
32 2 Book jacket, front cover
Two illustrations on the front cover.
32 3 End sheets
32 4 Terrain
Page 43: score for Al's sequence.
32 5 Parts of Some Sextets
Pages 44, 52-53, and 54.
32 6 The Mind is a Muscle
Pages 92-93, 94, and 104.
32 7-8 Rose Fractions
Pages 120 and 158. Photograph considered but not used in publication (folder 8).
32 9 Continuous Project - Altered Daily
Pages 132-133.
32 10 War
Page 169.
32 11 Grand Union
Page 204.
32 12 Performance
Page 241. Photograph used for program for performance at Hofstra University, 1972 Mar 21.
32 13 Lives of Performers
Pages 235 and 236.
32 14 This is the Story of a Woman Who...
Pages 249, 254, 256, 258 and 260.
32 15 We Shall Run
Page 292.
32 17 Three Satie Spoons
Page 284.
32 18 "Scrapbook" chapter
32 19 Correspondence and editing
32 20 Paste-ups, photographs considered but not used for the book
32 21 Notes on the 2nd edition appendix
32 22 Miscellaneous

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