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Bodies of the avant-garde: Modern d...

Andrew, Nell.

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Bodies of the avant-garde: Modern dance and the plastic arts, 1890--1930.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Bodies of the avant-garde: Modern dance and the plastic arts, 1890--1930./
作者:	Andrew, Nell.
面頁冊數:	355 p.
附註:	Adviser: Martha Ward.
Contained By:	Dissertation Abstracts International68-05A.
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3262204
ISBN:	9780549010227

Bodies of the avant-garde: Modern dance and the plastic arts, 1890--1930.
Andrew, Nell.

Bodies of the avant-garde: Modern dance and the plastic arts, 1890--1930. - 355 p.

Adviser: Martha Ward.

Thesis (Ph.D.)--The University of Chicago, 2007.

This dissertation situates early modern dance pioneers, Loie Fuller, Valentine de Saint-Point and Akarova, alongside art history's historical avant-garde, and argues that dance paradoxically used the body to participate in the development of abstract art. By taking account of the visual patterns, self-presentation, and reception of the dancers and artists of their time, my research calls for a rethinking of the impulses behind abstraction. I am challenging not only the traditional art historical assessment of dance as an ephemeral muse at the outskirts of modernism, but also the Greenbergian paradigm that modernist abstraction is the result of a century of autonomous, self-reflexive and formalist progression within the medium of painting.

ISBN: 9780549010227Subjects--Topical Terms:

635474
Art History.

Bodies of the avant-garde: Modern dance and the plastic arts, 1890--1930.
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520 $a This dissertation situates early modern dance pioneers, Loie Fuller, Valentine de Saint-Point and Akarova, alongside art history's historical avant-garde, and argues that dance paradoxically used the body to participate in the development of abstract art. By taking account of the visual patterns, self-presentation, and reception of the dancers and artists of their time, my research calls for a rethinking of the impulses behind abstraction. I am challenging not only the traditional art historical assessment of dance as an ephemeral muse at the outskirts of modernism, but also the Greenbergian paradigm that modernist abstraction is the result of a century of autonomous, self-reflexive and formalist progression within the medium of painting.
520 $a In a first case study, I align the serpentine dance of Fuller in the 1890s with the Symbolist Nabis painters. Rather than seeing the early Nabis gestures toward abstraction as stemming from the formal concerns of the picture plane, the dance demonstrates that the urge to abstraction may be rooted in a shared Symbolist goal of suspending or prolonging vision. In a second case, amid the earliest examples of so-called "pure" abstraction in 1913, Saint-Point created a multi-sensory dance that required viewers to recognize a shared durational consciousness outside the work of art, in the interstices between the viewing body and the stage. My third case study examines Akarova in the 1920s. This classically-trained dancer transformed the sensible body into an aesthetic form integrated with its environment, and provided her Belgian Constructivist circle with a palpable display of objectivity, lived and felt.
520 $a Through reconstructions, I find that the kind of viewing required by each dance activates an abstract kinesthetic feeling in the viewer---alternately through self-prolongation, self-estrangement, self-recognition---or, as proposed in my epilogue on avant-garde cinema, self-projection. I argue that this embodied response is in line with the viewing experience of abstract works of painting created in the dancers' midst. I hope to add to the field of art historical phenomenology a new landscape in which to understand the experience of abstraction in art---an abstraction that can be described outside the medium, through the viewing body.
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