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Embodied abstraction: Biomorphic fan...

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Embodied abstraction: Biomorphic fantasy and empathy aesthetics in the work of Hermann Obrist, August Endell, and their followers.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Embodied abstraction: Biomorphic fantasy and empathy aesthetics in the work of Hermann Obrist, August Endell, and their followers./
Author:	Hand, Stacy.
Description:	288 p.
Notes:	Adviser: Tom Gunning.
Contained By:	Dissertation Abstracts International69-04A.
Subject:	Design and Decorative Arts. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoeng/servlet/advanced?query=3309049
ISBN:	9780549568704

Embodied abstraction: Biomorphic fantasy and empathy aesthetics in the work of Hermann Obrist, August Endell, and their followers.
Hand, Stacy.

Embodied abstraction: Biomorphic fantasy and empathy aesthetics in the work of Hermann Obrist, August Endell, and their followers. - 288 p.

Adviser: Tom Gunning.

Thesis (Ph.D.)--The University of Chicago, 2008.

What exactly was Jugendstil's contribution to abstract art? This dissertation examines the radical aesthetic strategies of two German Jugendstil artists, Herman Obrist and August Endell, and their pivotal role in creating the possibility of an "abstract art." Jugendstil occupies a unique position in the historiography of modern art at the common origins of functionalist design and abstract art. It sought to reconnect the modern subject with his world, both artificial and natural, by giving mass-produced goods not just the look of nature but the ability to actively stimulate the subject's inner-nature.

ISBN: 9780549568704Subjects--Topical Terms:

1020245
Design and Decorative Arts.

Embodied abstraction: Biomorphic fantasy and empathy aesthetics in the work of Hermann Obrist, August Endell, and their followers.
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020 $a 9780549568704
035 $a (UMI)AAI3309049
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040 $a UMI $c UMI
100 1 $a Hand, Stacy. $3 1043956
245 1 0 $a Embodied abstraction: Biomorphic fantasy and empathy aesthetics in the work of Hermann Obrist, August Endell, and their followers.
300 $a 288 p.
500 $a Adviser: Tom Gunning.
500 $a Source: Dissertation Abstracts International, Volume: 69-04, Section: A, page: 1192.
502 $a Thesis (Ph.D.)--The University of Chicago, 2008.
520 $a What exactly was Jugendstil's contribution to abstract art? This dissertation examines the radical aesthetic strategies of two German Jugendstil artists, Herman Obrist and August Endell, and their pivotal role in creating the possibility of an "abstract art." Jugendstil occupies a unique position in the historiography of modern art at the common origins of functionalist design and abstract art. It sought to reconnect the modern subject with his world, both artificial and natural, by giving mass-produced goods not just the look of nature but the ability to actively stimulate the subject's inner-nature.
520 $a Historiographic accounts of Jugendstil are typically advanced from within the frameworks of craft-reform (sociological) or style (art historical). Instead, my argument places center-stage these artists' desire to align artistic and scientific aspirations. Both trained as scientists, Obrist and Endell sought to break with historicism and generate new creative strategies through an intense immersion in the latest theories in biology and psychology. These two discursive fields were also brought together in Einfuhlung aesthetics, which grafted the new science of perceptual psychology onto older models of aesthetic experience stemming from Romanticism. Obrist and Endell each navigated a unique path through this rich may of theories about the nature of organic formation, both in mind and matter. But in both cases this quasi-scientific orientation led to a radical sensory agenda---capitalizing upon the new discoveries of perceptual psychology, the Jugendstil object was to stimulate the psyche and the body of the subject directly through the senses.
520 $a In result, I argue that the problem of articulating Jugendstil's contribution to abstract art is also the problem of the disappearance of richer understandings of the aesthetic as synaesthetic, and correspondingly, an understanding of perception as something that plays out across the whole body. As I show, Obrist and Endell's pioneering work demonstrates a moment in which multiple 'abstract arts' were possible, some of which had a pronounced corporeal dimension. The "abstractions" documented here challenge current assumptions about the genesis of a modernist aesthetic of "pure opticality."
590 $a School code: 0330.
650 4 $a Design and Decorative Arts. $3 1020245
650 4 $a Art History. $3 635474
650 4 $a History of Science. $3 896972
690 $a 0377
690 $a 0389
690 $a 0585
710 2 $a The University of Chicago. $3 1017389
773 0 $t Dissertation Abstracts International $g 69-04A.
790 $a 0330
790 1 0 $a Gunning, Tom, $e advisor
791 $a Ph.D.
792 $a 2008
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoeng/servlet/advanced?query=3309049