Moving Modeism: The Urge to Abstraction in Painting, Dance, Cinema (Oxford Studies in Dance Theory)

by: Nell Andrew (Author)

Publisher: Oxford University Press

Edition: Illustrated

Publication Date: 2020/3/16

Language: English

Print Length: 256 pages

ISBN-10: 0190057289

ISBN-13: 9780190057282

Book Description

In early twentieth-century Europe, the watershed developments of pictorial abstraction, mode dance, and cinema coincided to shift the artistic landscape and the future of mode art. In Moving Modeism, Nell Andrew challenges assumptions about modeist abstraction and its appearance in the field of painting. By recovering performances, methods, and circles of aesthetic influence for avant-garde dance pioneers and filmmakers from the tu of the century to the interwar period ― including dancer Loïe Fuller, who presented to symbolist artists the possibility of prolonged or suspended vision; Valentine de Saint-Point, whose radical dance paralleled the abstractions of cubo-futurist painting; Sophie Taeuber and her Dada dance; the Belgian “pure plastics” choreographer known as Akarova; and the dance-like cinema of Germaine Dulac ― Andrew demonstrates that abstraction was deployed not only as modeist form but as an apparatus of creation, perception, and reception across artistic media.

About the Author

In early twentieth-century Europe, the watershed developments of pictorial abstraction, mode dance, and cinema coincided to shift the artistic landscape and the future of mode art. In Moving Modeism, Nell Andrew challenges assumptions about modeist abstraction and its appearance in the field of painting. By recovering performances, methods, and circles of aesthetic influence for avant-garde dance pioneers and filmmakers from the tu of the century to the interwar period ― including dancer Loïe Fuller, who presented to symbolist artists the possibility of prolonged or suspended vision; Valentine de Saint-Point, whose radical dance paralleled the abstractions of cubo-futurist painting; Sophie Taeuber and her Dada dance; the Belgian “pure plastics” choreographer known as Akarova; and the dance-like cinema of Germaine Dulac ― Andrew demonstrates that abstraction was deployed not only as modeist form but as an apparatus of creation, perception, and reception across artistic media.