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E-book The Persistence of Dance : Choreography as Concept and Material in Contemporary Art

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Penilaian

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Among what some have described as a domination of dance and chore-ography within the recent performative turn in the museal sector, defini-tions, specificities, and careful framing have often been lacking.5 Various iterations of dance in the gallery have included adaptations of stage-based works for the new context, works made for proscenium theaters located in multi-arts centers (such as the Walker Art Center, Minneapolis and the Centre Pompidou, Paris), new works responding to exhibitions and per-manent collections, and public programs engaging visitors in the practice of dancing. This project seeks to refine definitions of this broader field by following artists’ self-determination and intentions. As Artforum edi-tor David Velasco notes, there is a “dissonance between those who aspire to the museum or think inside its terms and those for whom it’s simply another horizontal ‘space’ to work in.”6 In order to overcome broad general-izations and associated misrepresentations, The Persistence of Dance turns to key works and exhibitions amongst the broader performative turn, and relies on the commentary of the artists themselves, to unpack the spec-ificities of this still emerging field. While the aforementioned activities have their own benefits and challenges, the focus will be on choreographic works that, to reiterate, share the preoccupations driving the field of con-temporary art; they are presented as a part of that field, both inside and outside the major arts institutions.Situating the current field in dialogue with preceding periods of intense dance–visual arts exchange is crucial to the mapping ambitions of The Persistence of Dance. A recent wave of literature has revised the narratives of the mid-century period through a focus on individual dance artists, such as the work of Carrie Lambert-Beatty on Yvonne Rainer, Mer-edith Morse on Forti, and Susan Rosenberg on Brown.7 This revision of the historical backstory to the current situation has been important in mak-ing sense of the new choreographic work—how it can be defined, charac-terized, contextualized, and analyzed in terms of its specific lineage back to the work of John Cage, Halprin, and Neo-Dada. In the following I refer to the second-wave dance avant-garde, which was centered in post-Merce Cunningham New York from the mid-1950s to the mid-1970s, and the third-wave dance avant-garde beginning in Europe in the early 1990s and continuing until the present in local occurrences. The deeply intermedial condition of dance since its emergence at the turn of the twentieth cen-tury, post-classical ballet, is beyond the scope of this work, but that histor-ical backstory informs a resistance to arguing for innovation where there is often, in fact, a return.

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Ketersediaan

Informasi Detail

Judul Seri

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No. Panggil

792.78 BRA t

Penerbit

USA : University of Michigan Press., 2023

Deskripsi Fisik

375 hlm

Bahasa

English

ISBN/ISSN

9780472903894

Klasifikasi

792.78

Tipe Isi

text

Tipe Media

computer

Tipe Pembawa

online resource

Edisi

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Subjek

Theatrical Dancing

Info Detail Spesifik

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Pernyataan Tanggungjawab

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Versi lain/terkait

Lampiran Berkas

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