experimental performance

anonymous asked:

I feel like a fool for not knowing this but how are the sciences used to promote white supremacy? Does this refer to all sciences or just the social sciences? If it's much too complicated to sum up succinctly why they're racist, could you maybe point me to some reading material on the subject? I wouldn't really know where to start researching a topic like this. Thank you.

every natural and social science originated in service to, is deeply indebted to, or has at least been wielded in service of, empire & white supremacy (some more directly than others imo). science & scientific thought under capitalism exist as tools for the dissemination of narratives that support capitalism and/or imperialist exploitation, plus some scientific knowledge arises from or is used to further imperialism & white supremacy in a very immediate sense.

a few things to consider off the top of my head:

additional readings and specific things to research can be found in my science tag

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Time Machine Video of the Week

The Velvet Underground & Nico - Venus In Furs (1967)

Well i am posting this as the Velvets first album, The Velvet Underground & Nico, was released 50 years ago today, March 12, 1967.

The Velvet Underground were a rock band formed in New York, America, by singer / guitarist Lou Reed, Welsh multi-instrumentalist John Cale, guitarist Sterling Morrison, and drummer Angus MacLise (who was replaced by Moe Tucker in 1965.

Accompanied by German born vocalist Nico, the album was recorded in 1966 while the group were featured on Andy Warhol’s Exploding Plastic Inevitable multimedia event tour, which gained attention for its experimental performance sensibilities and controversial lyrical topics, including drug abuse, prostitution, sadism and masochism and sexual deviancy.

Most rock bands that have followed have been influenced by the Velvets, than by any other band in the history of music.

Venus In Furs was never released as a single but was the fourth track on side one of the debut album The Velvet Underground & Nico, and is one of my favourite Velvets tracks, but i love the whole album, i can remember that i was totally blown away by its sound the first time i played it.

Shiny, shiny, shiny boots of leather
Whiplash girl child in the dark
Comes in bells, your servant, don’t forsake him
Strike, dear mistress, and cure his heart
Downy sins of streetlight fancies
Chase the costumes she shall wear
Ermine furs adorn the imperious
Severin, Severin awaits you there
I am tired, I am weary
I could sleep for a thousand years
A thousand dreams that would awake me
Different colors made of tears
Kiss the boot of shiny, shiny leather
Shiny leather in the dark
Tongue of thongs, the belt that does await you
Strike, dear mistress, and cure his heart
Severin, Severin, speak so slightly
Severin, down on your bended knee
Taste the whip, in love not given lightly
Taste the whip, now plead for me
I am tired, I am weary
I could sleep for a thousand years
A thousand dreams that would awake me
Different colors made of tears
Shiny, shiny, shiny boots of leather
Whiplash girl child in the dark
Severin, your servant comes in bells, please don’t forsake him
Strike, dear mistress, and cure his heart

The X-Files and Stranger Things exist within the same universe and here’s why:

Hawkins, Indiana 1983

Eleven escapes from a US Department of Energy National Laboratory and over the course of the series we discover that she exists as a weapon to fight against the Russians in the cold war. But is that really her purpose? We’re supposed to believe that she developed telekinesis in the womb due to LSD and sensory deprivation experiments on her mother? Why is she Eleven and and not One and how many others are there? Who is authorizing the men who run this “US Department of Energy” lab in Hawkins? 

The X-Files can answer these questions.

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Watch on blaireitloud.tumblr.com

there are times when we are disconnected…
from self.
from love.
from truth.
from worth.
from all general matter and light and beingness…
the crazy thing is the disconnect shows us exactly where we should be…

the last time i was in detroit i had the honor and pleasure of rocking @middlefingertocancer….

improv is a way to force me into presence…this was such a moment.
we all have to understand the ways in which we process things…
for me, my reconnection point has always been creativity.
recently i have found other ways to connect, to be present.
it’s a journey that i am kind to myself through…
i am forever grateful to all the teachers of life who teach me how to be better.
i accept the lessons and those who provide platforms for me to simultaneously teach and learn.
constant transforming.
i am invested in growing beyond…
••••••••••••••••••••••••••••
love to @triggerfingervisuals for the motion capture
••••••••••••••••••••••••••••
#staylitmyfriends #LoveAndLightmB #mbthelight #writer #singer #singersongwriter #songwriter #dancer #experimental #soundart #soundsketches #music #performance #livemusic #liveperformance #performer #performanceartist #artist #creatives #visualartist #tagafriend #Detroit #Atlanta #NewYork #LosAngeles #International

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After she graduates from Samwell, Alicia moves to New York. She’s got a modelling contract, she’s going to be in Vogue, she’s going to be on Broadway – she’s going to be all these huge things according to her agent. It’s not that she doesn’t want them, necessarily, it’s that…it’s that she’s twenty-three and she’s from Chatham, Massachusetts and she somehow thought she was going to be married well before she had a career. But, it’s fine. She’s got an apartment in Manhattan and everything is exciting and gorgeous and all the people she meets are dull and gorgeous and after only a month, she’s tired of it.

She’s theoretically dating a Broadway producer at that point. He has a higher opinion of himself and his tastes than anyone she’s ever in her life met, but she doesn’t really want to turn him down because this is how people get parts in things. But when he shows up with some tickets for a new experimental performance of Swan Lake set to the Beatles, she draws the line.

“What if we did something a little more…fun,” she suggests.

“Like what?” the producer asks, clearly bewildered.

“Well I think the Pens are going to be in town playing the Rangers on Saturday,” she says. “Can you get tickets to that?”

He clearly doesn’t know what the Pens or the Rangers are, but he goes away and comes back with tickets. Alicia’s just so damn relieved to be going to a perfectly normal hockey game that she can’t contain her excitement.

The seats the producer got them are good. They’re just behind the boards, liable to get sprayed with ice if anyone makes a serious turn too close by.

“Does – does the guy in jersey 11 have the same name as you?” the producer asks, glowering at the ice while the players skate by. Alicia doesn’t have to look to know who he’s talking about.

“That’s Bad Bob Zimmermann,” she says. She’s having fun explaining hockey to him in a condescending tone, since it was how all of their previous dates had been, just in reverse. “His name’s got two Ns at the end of it.”

She doesn’t mention that part of the reason she’s laughing is because back in Samwell, she and her roommates had gotten silly drunk one night and started evaluating the prospects of each of the hockey players Alicia had taped to her walls, and they’d decided that it was Bad Bob who she ought to marry because then she wouldn’t have to change her last name.

“No, but I would,” she insisted at the time. “I’d have to add an N.”

“And forever make copy editors cry,” her friend had replied.

The producer shakes his head in confusion at this whole sport, when suddenly three hockey players slam into the boards right in front of them. Alicia finds herself face to face with Bob Zimmermann himself and for some reason he’s looking at her, his brow furrowed just slightly in confusion.


“I’m telling you, it was Alicia Zimmerman,” Bob says, smacking away the towel someone’s trying to snap him with.

“I don’t know, man, that’s the most starry eyed I’ve ever seen you over a girl,” the goalie says.

“Of course I was starry eyed, she’s the new face of Valentino,” Bob says. This is going to be a problem. That’s not something he’s supposed to know off the top of his head. He has to cover. His team can’t know he’s been more or less fanboying over this girl for the better part of three months. “And she was in that play we saw the last time we were in New York.”

The goalie considers. “Who was she?”

“She was the girl,” Bob says. “You know, the really good one who could act.”

“Blonde?” the goalie asks. Bob nods. “Those blue eyes you could see even across the theatre?”

“Yeah,” Bob agrees.

“Why are you still in here then?” the goalie demands. “She’s probably still out there. Go ask her on a date.”

Bob shakes his head, but the goalie, Johnson, grabs him by the arm.

“Bob,” he says. “This is crucial. Go ask Alicia Zimmerman out on a date.”

Merde, okay,” Bob says, recoiling from Johnson’s intensity. It’s not actually that bad an idea, he thinks, as he walks back towards the stands. Alicia hadn’t looked overly enthusiastic about the man she was sitting next to, so maybe he’s got a chance.

He happens to catch her and the guy in the suit just before they leave the rink.

“Sorry, you’re Alicia Zimmerman right?” Bob asks.

Her smile could power all of New York it’s so bright.

“You’re Bad Bob,” she says, completely ignoring the man next to her. He looks miffed, Bob thinks, but he’s also about half the size Bob is so he’s not worried. “I mean, you’re Bob Zimmermann. With two Ns.”

Bob laughs and Alicia keeps smiling, and the Broadway producer disappears in a snit.


Alicia never does get around to changing her last name. 

THE GUARDIAN >> Bright lights on the lagoon: Venice Biennale 2017 – in pictures (by David Levene)

“My Cat is an Alien, part of the musical work at the French Pavilion.”

MY CAT IS AN ALIEN | XAVIER VEILHAN | STUDIO VENEZIA | 57th VENICE ART BIENNALE  | OPENING DAYS 10-12 MAY 2017

Paul McCartney: 75 at 75 (Spotify playlist)

Paul McCartney: 75 at 75 

https://open.spotify.com/user/nobodytoldme/playlist/2A4Lohj4pkej7twuxeKUBH

A playlist with 75 songs celebrating Paul McCartney as an artist, composer, performer, vocalist, instrumentalist and experimentalist. From The Quarrymen’s ’In Spite Of All The Danger’ (1958) to Kanye West’s ‘All Day’ (2015) and everything in between.

This isn’t by any means an attempt to make a definitive list of his output. It isn’t necessarily a top 75, it’s not a greatest hits, nor the ultimate best of, and not even my absolute personal favourites. The goal was to make a diverse playlist by chronologically showcasing how incredibly versatile his musical output has been and remains to be to this very day. It includes his pop/rock catalogue, his experimental work, his live performances, his collaborations with other artists, his ambient work, his classical work, his rock and roll covers, songs he wrote for others, and everything else.

Unfortunately I couldn’t include some unreleased material, single variations and B-sides, since I was restricted to Spotify’s catalogue. No Hamburg tapes, no ‘Goodbye’ demo, no 7” mix of ‘Pretty Little Head’, no ‘Mama’s Little Girl’, no proper version of ‘Suicide’, no vintage mix for ‘A Love For You’, no ‘Girls’ School’, no ‘Comfort Of Love’, no ‘Waterspout’, no ‘My Old Friend’ with Carl Perkins, no ‘Scared’ as separate track instead of hidden track, no ‘On The Wings Of A Nightingale’ if you don’t wanna add Jan Keizer to a playlist like this, no ‘Abbey Road’-climax as a whole, and on, and so on. Nonetheless I think I succeeded pretty well in this playlist as celebration of Paul McCartney’s musical career.  

Enjoy, and happy 75th, Sir James Paul McCartney, CH, MBE!

https://open.spotify.com/user/nobodytoldme/playlist/2A4Lohj4pkej7twuxeKUBH

Paul McCartney: 75 at 75

In Spite Of All The Danger (The Quarrymen demo, 1958)
Like Dreamers Do (The Beatles Decca audition, 1962)
All My Loving (from ‘With The Beatles’, 1963)
And I Love Her (from ‘A Hard Day’s Night’, 1964)
Can’t Buy Me Love (from ‘A Hard Day’s Night’, 1964)
I’ve Just Seen A Face (from ‘Help!’, 1965)
Yesterday (from ‘Help!’, 1965)
Day Tripper (single, 1965)
Eleanor Rigby (from ‘Revolver’, 1966)
Here, There And Everywhere (from ‘Revolver’, 1966)
For No One (from ‘Revolver’, 1966)
Penny Lane (single, 1967)
Getting Better (from ‘Sgt. Pepper’s Lonely Hearts Club Band’, 1967)
She’s Leaving Home (from ‘Sgt. Pepper’s Lonely Hearts Club Band’, 1967)
I Will [Take 1] (from ‘The White Album’ sessions, 1968)
Martha My Dear (from ‘The White Album’, 1968)
Blackbird (from ‘The White Album’, 1968)
Helter Skelter (from ‘The White Album’, 1968)
Come And Get It (solo demo for Badfinger, 1969)
Golden Slumbers (from ‘Abbey Road’, 1969)

Every Night (from ‘McCartney,’ 1970)
Maybe I’m Amazed (from ‘McCartney’, 1970)
Uncle Albert/Admiral Halsey (from ‘Ram’, 1971)
Monkberry Moon Delight (from ‘Ram’, 1971)
The Back Seat Of My Car (from ‘Ram’, 1971)
Some People Never Know (from ‘Wild Life’, 1971)
Band On The Run (from ‘Band On The Run’, 1973)
Jet (from ‘Band On The Run’, 1973)
Nineteen Hundred And Eighty Five (from ‘Band On The Run’, 1973)
Little Lamb Dragonfly (from ‘Red Rose Speedway’, 1973)
Walking In The Park With Eloise (single, as The Country Hams, written by James McCartney, 1974)
Junior’s Farm (single, 1974)
Let’s Love (written/produced for and performed by Peggy Lee, from ‘Let’s Love’, 1974)
Love In Song (from ‘Venus & Mars’, 1975)
Listen To What The Man Said (from ‘Venus & Mars’, 1975)
Silly Love Songs (from ‘Wings At The Speed Of Sound’, 1976)
Beware My Love (from ‘Wings At The Speed Of Sound’, 1976)
Soily (from ‘Wings Over America’, 1976)
Ram On (as Percy “Thrills” Thrillington, from ‘Thrillington’, 1977)
London Town (from ‘London Town’, 1978)
Arrow Through Me (from ‘Back To The Egg’, 1979)
Goodnight Tonight (single, 1979)
Daytime Nighttime Suffering (B-side, 1979)

Coming Up (from ‘McCartney II’, 1980)
Secret Friend (B-side, 1980)
Take It Away (from ’Tug Of War’, 1982)
Wanderlust (from ’Tug Of War’, 1982)
Through Our Love (from ‘Pipes Of Peace’, 1983)
Say Say Say (with Michael Jackson, from ‘Pipes Of Peace’, 1983)
No More Lonely Nights (ballad version, from the ‘Give My Regards To Broad Street’ soundtrack, 1984)
We All Stand Together (single, 1984)
Once Upon A Long Ago (single, 1987)
My Brave Face (from ‘Flowers In The Dirt’, 1989)
Hope Of Deliverance (from ‘Off The Ground’, 1993)
Young Boy (from ‘Flaming Pie’, 1997)
Calico Skies (from ‘Flaming Pie’, 1997)
Celebration (Andante) (from ‘Standing Stone’, 1997)
Watercolour Guitars (as The Fireman, from ‘Rushes’, 1998)
Somedays (by The London Symphony Orchestra, from ‘Working Classical’, 1999)

Free Now (featuring The Beatles and Super Furry Animals, from ‘Liverpool Sound Collage’, 2000)
Rinse The Raindrops (Twin Freaks remix, from ‘Twin Freaks’, 2005)
Darkroom (Twin Freaks remix, from ‘Twin Freaks’, 2005)
How Kind Of You (from ‘Chaos And Creation In The Backyard’, 2005)
Friends To Go (from ‘Chaos And Creation In The Backyard’, 2005)
Riding To Vanity Fair (from ‘Chaos And Creation In The Backyard’, 2005)
Ever Present Past (from ‘Memory Almost Full’, 2007)
House Of Wax (from ‘Memory Almost Full’, 2007)
Sun Is Shining (as The Fireman, from ‘Electric Arguments’, 2008)
Best Love (written by and performed for Steve Martin, from ‘Rare Bird Alert’, 2011)
More I Cannot Wish You (written by Frank Loesser, from ‘Kisses On The Bottom’, 2012)
My Valentine (from ‘Kisses On The Bottom’, 2012)
Out Of Sight (by The Bloody Beetroots, from ‘Hide’, 2013)
Alligator (from ‘New’, 2013)
New (from ‘New’, 2013)
All Day (by Kanye West, single, 2015)

https://open.spotify.com/user/nobodytoldme/playlist/2A4Lohj4pkej7twuxeKUBH

terfs: “we’re all about facts and logic. face the ugly truths.”

terf 1: “SRS was performed experimentally in concentration camps by nazi doctors.” (factually untrue)

terf 2: “trans women aren’t victims of violence, they’re perpetrators of violence.” (statistically untrue)

terf 3: “if we let trans women into bathrooms, they’ll attack women!” (factually untrue)

terf 4: “there’s no justification for letting incarcerated trans women transfer from male prisons to female prisons!” (statistically false: trans women are victimized in prison at extremely high rates)

terf 5: “no straight man has ever been attracted to trans women.” (just… completely untrue in society.)

terf 6: “trans women only medically transition so that straight men will find them attractive” (false.)

terf 7: “I’m simply not attracted to trans women. never have, never will. I can always tell the difference.” (implies that all trans women look the same and ignores the existence of stealth cis passing trans women)

terf 8: “trans women need to stay out of lesbian spaces! they are disrupting our Female-only safe space and nobody wants them here.” (ignores all of the lesbians who ARE attracted to or accepting of trans women)

the other day i went with a friend to the museum, and outside its entrance, was greeted with this:

eight cats. sitting there. perfectly still. everyone around them was cooing and taking pictures but those cats did not budge. for a moment i was actually wondering whether that was supposed to be some sort of experimental new performance art.

but then one lady came out of the museum and they all got up and followed after her. good god, i hope they’re her cats. i hope they do this everywhere she goes. just follow after her and patiently wait outside every building she enters like the world’s most disciplined children.

Ophie Hunter: the exclusive second lost interview

Interviewer: 3 years of complete silence and now 2 interviews in 2 weeks…

Rachel: For the record, I want it to be perfectly clear that it was not my idea to give this second interview so soon after the first one. I do not need to remind anyone, that I am a shy and private person, who strongly dislikes the spotlight and abhors self-promotion. You can’t even begin to imagine, how difficult it is for someone like me to come forward and be the center of attention again but I was strongly persuaded to do it.

Int: You were? By whom?

Ophie: I will name no names. It is sufficient to say that I received an angry and extremely menacing phone call from a well-known American film producer and film studio executive (he and his brother have been co-chairmen of their own production company, since 2005) you can call him Mr. W.
Mr. W. shouted at me over the phone that in my previous interview I came off as “a self-important snob boasting of her refined tastes and worldliness through language” . I strongly disagree but he was most persistent, that I should retract the statements I made in my previous interview and clean my image.

Int: What was your immediate reaction to his phone call?

Ophie: The avant-garde artist in me immediately saw the potential opera and theatrical narrative of the individual in that phone call and created a moodboard which included the images of the 1781 oil painting “The Nightmare” by the Anglo- Swiss artist Henry Fuseli, and the bloody horse-head scene from the 1972 American crime film “The Godfather” directed by Francis Ford Coppola (based on Mario Puzo’s best-selling novel with the same name).
The whole concept of a ‘mafia theatrical opera’ came to me as a vision and inspired what will be a wonderful work for the operatic stage. I will be seeking to develop a new kind of theatrical event reflecting and profoundly questioning the actualities of my way of looking at the world.

Int: Some people also accused you of being pretentious. Do you think there was some truth in those claims?

Rachel: Pretentious, moi? Don’t be ridiculous. Conflating “foreign”, “artistic”, “intelectual” with “pretence” as you do in the working classes is disquietingly parochial.

Int: Do you care to elaborate on that?

Rachel: People are always suspicious of the unconventional. Experimental literature, avant-garde performances, modernist art, or fashion design are only pretentious for you low and middle classes!
I have never pursued these interests out of affectation! I have an art school degree and decades of experience as an Actress/Opera Director/Playwriter/Avant-Garde Artist/Model-Fashionista/Producer extraordinaire working in the field of Contemporary Art/Indie and Mainstream Cinema/Experimental Theater/Fashion/Opera, so you could say I’ve spent a life embedded in pretension. But you would be wrong.

Int: How is that?

Rachel: I am just one of the crowd really! I get on with my staff (when they do their jobs properly). My sense of sense of humour is very appreciated (amongst people who I have on payroll). I smile a lot and even genuinely (for the paparazzi). I have friends who can vouch just how my salt-of-the-earth credentials are. I am a very likable and emphatic person who is also involved in Charities.

Int: What Charities?

Rachel: I do not like to brag but I am most commited to help people to fulfill their hopes and dreams.
Particularly my close relatives and friends because as mother says ‘Charity begins at home’. Naturally, I understand the overriding demands of taking care of one’s family, before caring for others and I have dozens of close relatives, and friends - each one with his/her own ambitions, dreams- and as God is my witness, I will not rest until Bob helps each and everyone of them to find their way, their ambition and their success in this world!

Int: What were the other reactions to your first interview?

Ophie: As soon as the interview was out I received hundreds of notifications on my phone. Naturally I assumed that the interview had gone viral and I was receiving congratulations and accolades, instead you can imagine my surprise when all I got was worried and stressed messages from my interns reporting to me that I was receiving all sorts of negative reactions on social media. Among other surprising and unfair things, people were accusing me, ME of being a Diva that was putting on airs and graces.

Inter: How did you react to those accusations?

Ophie: I was very upset, obviously! I’ve never done one diva-ish thing in my life. Not a single one! I had a temper-tantrum, then calmed down, collected myself, flipped my hair and proceeded in firing all the members of my in-house staff- who were responsible for managing my online reputation and I left the stage, I mean the meeting room!

Int: You fired everybody? Wasn’t that a bit extreme?

Rachel: No it really wasn’t. My intern’s job’s descriptions were perfectly clear since day one: manage my name domain online, establish a clear, fleshed-out presence on multiple social networking sites, post to each of them at least once a week, blurr my husband’s face in all the photos where I, a celebrity in my own right, was endorsing high profile brands and products such as designer shoes and jewelry, fashion clothes and accessories- while simultaneously tagging his name in order to lure in his fandom, and most importantly keep monitoring the web (particularly the hateful so-called “Skeptics” blogs) for any unflattering photos or mentions of me.
If they did find something negative or unflattering, they had clear orders to do everything in their power to bury them with positive content. They failed on all accounts.

Int: What happened next?

Ophie: My Media Team Management which included my Reputation Manager, my Press representative, my Public relations publicist, my Special publicity consultant, my Unit publicist and my Media Agent resigned in block allegedly because they were “extremely frustrated with me and particularly my perceived interference in the team’s affairs”. The truth was that they promised to make my preferred online profile float to the top of search results in order to boost my personal or corporate brand and instead due to their collective incompetence they failed to achieve my stated target of securing me a place in the Top Celebrities League.

Int: Did you feel people misunderstood you?

Rachel: Yes of course. I want people to understand- because Mr. W. was most insistent about this specific point- that I care hugely about my role. I care hugely about Bob. I care hugely about SM. I think Sunny March is a fantastic organisation full of people who just want to make a difference.
I want people to know that I want to be a tool to Bob, SM and Mr. W- if they really enable me and my people to make a real difference in Bob’s career. I want Mr. W to know that I am extremly commited to help him on this long-term agenda, because I think that this is the opportunity of a life time, and I think I’ll probably look back over the last three years and say, that we helped each other a lot.

Int: Do you intend to give any more interviews in future?

WHM: In the immortal words of mother: Watch this space! You never know.

Int: Thank you Ophie!

Ophie: That’s Mrs. Cumberbatch for you!
C-U-M-B-E-R-B-A-T-C-H

# cumber*atch # benedic*cumber*atch # lovingwifey # realcouplesarereal # realfamilies # ben*phie4eva # ijustwanttobefamous # 17yearsgoingon2weeksandcounting #hopeitlasts

~*~*~*~*~*~*~*~*~*~*~*~

Anna:  After reading the above submission, I feel the need to be very clear:

This is not a real interview by Sophie Hunter.  I repeat.  NOT a real interview.

I just feel it’s imperative I make the distinction, because the snarky Anon who’s getting these imaginary exclusives has managed to capture Weirdo’s spirit so well, I half expect excerpts from it to end up on SHC as quotes.  Having said that, the interns who run SHC haven’t posted anything since the 4th of March, so perhaps I don’t need to be as vigilant…

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Culture Chester - Baseball Factor

Live at Vaudville Mews in Des Moines Iowa, 2015

Newt Grundy, Lead Vocals, Bass Guitar,

Henry Knollenberg, Keys

Tanner Babcock, Percussion

OPEN TODAY: i call america presents a series of open-ended explorations by sound experimentalist Matana Roberts. Performances take place throughout the day, from Wednesday through Sunday. 

Matana Roberts addresses No Title, 1969–70 by Eva Hesse as part of the 99 Objects series, June 4, 2015. Photograph by Evan Hunter Mcknight

Robert Rauschenberg was a Neo-Dadaist/Pop Artist. Rauschenberg was interested in exploring the definition of what art was, and what the role of the artist in their creation. Rauschenberg worked with photography, painting, printmaking, performance, found object sculpture, mixed media, and designing sets and costumes for experimental dance performances. Rauschenberg attended the Black Mountain College in the late ‘40s which influenced his later work in manipulating and studying the lines, textures and colors of found and material objects. Rauschenberg was active from the late 1940s, until his death in 2008. Sleep for Yvonne Rainer, 1965 (pictured above) was created by Rauschenberg for his friend and collaborator, dancer and choreographer Yvonne Rainer, as a tribute to their friendship.