東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

Animated Geometries: Abstraction and...

Ferrari, Francesca,

Linked to FindBook

Google Book

Amazon

博客來

Animated Geometries: Abstraction and the Body in the Post-First World War Work of Alexandra Exter, Paul Klee, Sophie Taeuber-Arp, and Joaquin Torres-Garcia /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Animated Geometries: Abstraction and the Body in the Post-First World War Work of Alexandra Exter, Paul Klee, Sophie Taeuber-Arp, and Joaquin Torres-Garcia // Francesca Ferrari.
Author:	Ferrari, Francesca,
Description:	1 electronic resource (409 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 85-08, Section: A.
Contained By:	Dissertations Abstracts International85-08A.
Subject:	Art history. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30813143
ISBN:	9798381742299

Animated Geometries: Abstraction and the Body in the Post-First World War Work of Alexandra Exter, Paul Klee, Sophie Taeuber-Arp, and Joaquin Torres-Garcia /
Ferrari, Francesca,

Animated Geometries: Abstraction and the Body in the Post-First World War Work of Alexandra Exter, Paul Klee, Sophie Taeuber-Arp, and Joaquin Torres-Garcia /Francesca Ferrari. - 1 electronic resource (409 pages)

Source: Dissertations Abstracts International, Volume: 85-08, Section: A.

In the decade that followed the First World War, the human body became a battleground for debates about what human beings could be and do in the age of mechanization. Modern artists played a crucial role in these debates, often adopting abstract forms to celebrate the body's machine-like qualities or negotiate the alienation brought about by technology. Still others, however, used abstraction, and especially geometry, to foreground the body's vulnerabilities and relational possibilities. This dissertation explores four such artists - Alexandra Exter, Paul Klee, Sophie Taeuber-Arp, and Joaquin Torres-Garcia - whose works and writings are exemplary of a broader trend in modern European art that I call "animated geometries." This phrase describes an aesthetic grounded in geometry that enlists motion (actual or represented) and sensory stimulation (optic, haptic, aural, and kinesthetic) to champion a perpetual state of transformation and interconnection in an expanded phenomenal field. Working independently from each other and across distinct geopolitical contexts, the four artists mobilized this aesthetic in vibrant paintings, works on paper, textiles, and multi-media sculptures - often inviting activation by human and other-than-human agents - that stage the body's exposure and receptivity to external forces. I propose that they enlisted geometry to highlight the body's ability to interact with its surroundings and, at the same time, to abstract it into an obscure assemblage of conflicting signs that resist legibility and visual control. The opaque, porous figures that emerge in their post-First World War oeuvres, I suggest, carried important ethical implications at a time when geometric forms and structures proliferated in normative visualizations of the body. Fostering instead radical modes of fluid corporeality, plural identity, and non-hierarchical relationality, their animated geometries contrived a utopia in which nothing is fixed but everything is connected.

English

ISBN: 9798381742299Subjects--Topical Terms:

2122701
Art history.
Subjects--Index Terms:

Abstraction

Animated Geometries: Abstraction and the Body in the Post-First World War Work of Alexandra Exter, Paul Klee, Sophie Taeuber-Arp, and Joaquin Torres-Garcia /
LDR:03614nmm a22004573i 4500 001 2431435
005 20250616055151.5
006 m o d
007 cr|nu||||||||
008 261011s2023 miu||||||m |||||||eng d
020 $a 9798381742299
035 $a (MiAaPQD)AAI30813143
035 $a AAI30813143
040 $a MiAaPQD $b eng $c MiAaPQD $e rda
100 1 $a Ferrari, Francesca, $e author. $3 3820237
245 1 0 $a Animated Geometries: Abstraction and the Body in the Post-First World War Work of Alexandra Exter, Paul Klee, Sophie Taeuber-Arp, and Joaquin Torres-Garcia / $c Francesca Ferrari.
264 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2023
300 $a 1 electronic resource (409 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertations Abstracts International, Volume: 85-08, Section: A.
500 $a Advisors: Poggi, Christine; Sullivan, Edward J. Committee members: Silver, Kenneth E.; Butterfield-Rosen, Emmelyn; Slifkin, Robert.
502 $b Ph.D. $c New York University $d 2023.
520 $a In the decade that followed the First World War, the human body became a battleground for debates about what human beings could be and do in the age of mechanization. Modern artists played a crucial role in these debates, often adopting abstract forms to celebrate the body's machine-like qualities or negotiate the alienation brought about by technology. Still others, however, used abstraction, and especially geometry, to foreground the body's vulnerabilities and relational possibilities. This dissertation explores four such artists - Alexandra Exter, Paul Klee, Sophie Taeuber-Arp, and Joaquin Torres-Garcia - whose works and writings are exemplary of a broader trend in modern European art that I call "animated geometries." This phrase describes an aesthetic grounded in geometry that enlists motion (actual or represented) and sensory stimulation (optic, haptic, aural, and kinesthetic) to champion a perpetual state of transformation and interconnection in an expanded phenomenal field. Working independently from each other and across distinct geopolitical contexts, the four artists mobilized this aesthetic in vibrant paintings, works on paper, textiles, and multi-media sculptures - often inviting activation by human and other-than-human agents - that stage the body's exposure and receptivity to external forces. I propose that they enlisted geometry to highlight the body's ability to interact with its surroundings and, at the same time, to abstract it into an obscure assemblage of conflicting signs that resist legibility and visual control. The opaque, porous figures that emerge in their post-First World War oeuvres, I suggest, carried important ethical implications at a time when geometric forms and structures proliferated in normative visualizations of the body. Fostering instead radical modes of fluid corporeality, plural identity, and non-hierarchical relationality, their animated geometries contrived a utopia in which nothing is fixed but everything is connected.
546 $a English
590 $a School code: 0146
650 4 $a Art history. $3 2122701
650 4 $a Art criticism. $3 526357
650 4 $a Fine arts. $3 2122690
653 $a Abstraction
653 $a Embodiment
653 $a First World War
653 $a Geometry
653 $a Modern art
653 $a Movement
690 $a 0377
690 $a 0365
690 $a 0357
710 2 $a New York University. $b Institute of Fine Arts. $e degree granting institution. $3 3820238
720 1 $a Poggi, Christine $e degree supervisor.
720 1 $a Sullivan, Edward J. $e degree supervisor.
773 0 $t Dissertations Abstracts International $g 85-08A.
790 $a 0146
791 $a Ph.D.
792 $a 2023
856 4 0 $u https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30813143