Persistence of Dance
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Persistence of Dance
Choreography as Concept and Material in Contemporary Art
Brannigan, Erin
The University of Michigan Press
11/2023
374
Dura
Inglês
9780472076482
15 a 20 dias
Descrição não disponível.
Part I. State of the Art
Chapter 1:Unassertive Persistence: Dance Beyond Theater
Introduction
1.2 Intermedial methods for intermedial practices
1.3 Revision and specificity: choreography as a contemporary art medium
1.4 Scoping the field: across theory and practice
Case Study 1: Sarah Michelson-Choreography as Concept, Dancing as Material
Chapter 2: Intermedial Methodologies: Dance Composition and the Work of the Work
2.1 Introduction
2.2 Poetics as method
2.3 Writing dancing
2.4 The limit features of dance's social condition (part 1)
Mind-body
Singularity/collectivity
Presence/participation
Process
Practice
Composition
Performance
2.5 Conclusion
Part II. Dance and the Museum
Case Study 2: Meg Stuart and Bart De Baere-Choreography and/as Collaboration
Chapter 3: The Museum and Dance Since the 1990s
3.1 Introduction
3.2 The resistance of dance
3.3 Curation since the 2000s: revision, appropriation, and potential
3.4 Exhibiting dance, now and then: exclusions and specificities
3.5 Conclusion
Case Study 3: Curation as Choreography-Copeland's Choreographing
(2007)
Case Study 4: Activating Dancer Agency in the Gallery-Adrian Heathfield's
Ghost Telephone (2016)
Case Study 5: Artist-Led Events-Shelley Lasica and Zoe Theodore,
To Do / To Make
Part III. Between the Twentieth and Twenty-First Centuries
Chapter 4: Between the Second- and Third-Wave Dance Avant-Garde
4.1 Introduction
4.2 Conceptual dance and the third-wave dance avant-garde
4.3 Continuity between recent experimental dance and the post-war neo-avant-garde
or Neo-Dada
4.4 Conclusion
Case Study 6: Boris Charmatz-Institutional Critique and Contemporary Dance Histories
Chapter 5: Choreography as Concept and Post-Disciplinarity
5.1 Introduction
5.2 Dancing versus choreography
5.3 Choreography as concept
5.4 Conclusion
Part IV: Concept and Material
Case Study 7: Adam Linder-Dance as a Contemporary Art Medium
Chapter 6: TheConceptual-Material Bind in Dance and Visual Art
6.1 Introduction
6.2 Conceptual work in dance and visual art
6.3 The persistence of a thing called dance
6.4 Conclusion
Chapter 7: The Limit Features of Dance's Social Condition (part 2)
7.1 Introduction
7.2 Breath 7.4 Tone
7.5 Movement
7.6 Force/Energy/Effort
7.7 Rhythm
7.8 Space-time
7.9 Conclusion
Case Study 8: Shelley Lasica-Context and Process
Case Study 9: Maria Hassabi-Between Sensation and Its Display
Part V: Beyond Dancing in the Gallery
Case Study 10: Agatha Gothe-Snape-Art as Gesture
Chapter 8: The Persistence of Dance at the Point of Its Disappearance
8.1 Introduction
8.2 The material genealogy of dance
8.3 Post-dance
8.4 Conclusion
Case Study 11: Latai Taumoepeau-Dancing Moana, Working with Urgency
Conclusion: Persistent Resistance
Bibliography
Chapter 1:Unassertive Persistence: Dance Beyond Theater
Introduction
1.2 Intermedial methods for intermedial practices
1.3 Revision and specificity: choreography as a contemporary art medium
1.4 Scoping the field: across theory and practice
Case Study 1: Sarah Michelson-Choreography as Concept, Dancing as Material
Chapter 2: Intermedial Methodologies: Dance Composition and the Work of the Work
2.1 Introduction
2.2 Poetics as method
2.3 Writing dancing
2.4 The limit features of dance's social condition (part 1)
Mind-body
Singularity/collectivity
Presence/participation
Process
Practice
Composition
Performance
2.5 Conclusion
Part II. Dance and the Museum
Case Study 2: Meg Stuart and Bart De Baere-Choreography and/as Collaboration
Chapter 3: The Museum and Dance Since the 1990s
3.1 Introduction
3.2 The resistance of dance
3.3 Curation since the 2000s: revision, appropriation, and potential
3.4 Exhibiting dance, now and then: exclusions and specificities
3.5 Conclusion
Case Study 3: Curation as Choreography-Copeland's Choreographing
(2007)
Case Study 4: Activating Dancer Agency in the Gallery-Adrian Heathfield's
Ghost Telephone (2016)
Case Study 5: Artist-Led Events-Shelley Lasica and Zoe Theodore,
To Do / To Make
Part III. Between the Twentieth and Twenty-First Centuries
Chapter 4: Between the Second- and Third-Wave Dance Avant-Garde
4.1 Introduction
4.2 Conceptual dance and the third-wave dance avant-garde
4.3 Continuity between recent experimental dance and the post-war neo-avant-garde
or Neo-Dada
4.4 Conclusion
Case Study 6: Boris Charmatz-Institutional Critique and Contemporary Dance Histories
Chapter 5: Choreography as Concept and Post-Disciplinarity
5.1 Introduction
5.2 Dancing versus choreography
5.3 Choreography as concept
5.4 Conclusion
Part IV: Concept and Material
Case Study 7: Adam Linder-Dance as a Contemporary Art Medium
Chapter 6: TheConceptual-Material Bind in Dance and Visual Art
6.1 Introduction
6.2 Conceptual work in dance and visual art
6.3 The persistence of a thing called dance
6.4 Conclusion
Chapter 7: The Limit Features of Dance's Social Condition (part 2)
7.1 Introduction
7.2 Breath 7.4 Tone
7.5 Movement
7.6 Force/Energy/Effort
7.7 Rhythm
7.8 Space-time
7.9 Conclusion
Case Study 8: Shelley Lasica-Context and Process
Case Study 9: Maria Hassabi-Between Sensation and Its Display
Part V: Beyond Dancing in the Gallery
Case Study 10: Agatha Gothe-Snape-Art as Gesture
Chapter 8: The Persistence of Dance at the Point of Its Disappearance
8.1 Introduction
8.2 The material genealogy of dance
8.3 Post-dance
8.4 Conclusion
Case Study 11: Latai Taumoepeau-Dancing Moana, Working with Urgency
Conclusion: Persistent Resistance
Bibliography
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
contemporary dance;contemporary art;conceptual dance;conceptual art;choreography;exhibitions;curation;dance analysis;art theory;dance history;art history;intermedial;materiality;conceptualism;museum;gallery;choreography as concept;poetics as method;mind-body;aesthetic philosophy;curation as choreography;artist-curators;experimental composition;post-dance;post-conceptual;post-disciplinary;post-medium
Part I. State of the Art
Chapter 1:Unassertive Persistence: Dance Beyond Theater
Introduction
1.2 Intermedial methods for intermedial practices
1.3 Revision and specificity: choreography as a contemporary art medium
1.4 Scoping the field: across theory and practice
Case Study 1: Sarah Michelson-Choreography as Concept, Dancing as Material
Chapter 2: Intermedial Methodologies: Dance Composition and the Work of the Work
2.1 Introduction
2.2 Poetics as method
2.3 Writing dancing
2.4 The limit features of dance's social condition (part 1)
Mind-body
Singularity/collectivity
Presence/participation
Process
Practice
Composition
Performance
2.5 Conclusion
Part II. Dance and the Museum
Case Study 2: Meg Stuart and Bart De Baere-Choreography and/as Collaboration
Chapter 3: The Museum and Dance Since the 1990s
3.1 Introduction
3.2 The resistance of dance
3.3 Curation since the 2000s: revision, appropriation, and potential
3.4 Exhibiting dance, now and then: exclusions and specificities
3.5 Conclusion
Case Study 3: Curation as Choreography-Copeland's Choreographing
(2007)
Case Study 4: Activating Dancer Agency in the Gallery-Adrian Heathfield's
Ghost Telephone (2016)
Case Study 5: Artist-Led Events-Shelley Lasica and Zoe Theodore,
To Do / To Make
Part III. Between the Twentieth and Twenty-First Centuries
Chapter 4: Between the Second- and Third-Wave Dance Avant-Garde
4.1 Introduction
4.2 Conceptual dance and the third-wave dance avant-garde
4.3 Continuity between recent experimental dance and the post-war neo-avant-garde
or Neo-Dada
4.4 Conclusion
Case Study 6: Boris Charmatz-Institutional Critique and Contemporary Dance Histories
Chapter 5: Choreography as Concept and Post-Disciplinarity
5.1 Introduction
5.2 Dancing versus choreography
5.3 Choreography as concept
5.4 Conclusion
Part IV: Concept and Material
Case Study 7: Adam Linder-Dance as a Contemporary Art Medium
Chapter 6: TheConceptual-Material Bind in Dance and Visual Art
6.1 Introduction
6.2 Conceptual work in dance and visual art
6.3 The persistence of a thing called dance
6.4 Conclusion
Chapter 7: The Limit Features of Dance's Social Condition (part 2)
7.1 Introduction
7.2 Breath 7.4 Tone
7.5 Movement
7.6 Force/Energy/Effort
7.7 Rhythm
7.8 Space-time
7.9 Conclusion
Case Study 8: Shelley Lasica-Context and Process
Case Study 9: Maria Hassabi-Between Sensation and Its Display
Part V: Beyond Dancing in the Gallery
Case Study 10: Agatha Gothe-Snape-Art as Gesture
Chapter 8: The Persistence of Dance at the Point of Its Disappearance
8.1 Introduction
8.2 The material genealogy of dance
8.3 Post-dance
8.4 Conclusion
Case Study 11: Latai Taumoepeau-Dancing Moana, Working with Urgency
Conclusion: Persistent Resistance
Bibliography
Chapter 1:Unassertive Persistence: Dance Beyond Theater
Introduction
1.2 Intermedial methods for intermedial practices
1.3 Revision and specificity: choreography as a contemporary art medium
1.4 Scoping the field: across theory and practice
Case Study 1: Sarah Michelson-Choreography as Concept, Dancing as Material
Chapter 2: Intermedial Methodologies: Dance Composition and the Work of the Work
2.1 Introduction
2.2 Poetics as method
2.3 Writing dancing
2.4 The limit features of dance's social condition (part 1)
Mind-body
Singularity/collectivity
Presence/participation
Process
Practice
Composition
Performance
2.5 Conclusion
Part II. Dance and the Museum
Case Study 2: Meg Stuart and Bart De Baere-Choreography and/as Collaboration
Chapter 3: The Museum and Dance Since the 1990s
3.1 Introduction
3.2 The resistance of dance
3.3 Curation since the 2000s: revision, appropriation, and potential
3.4 Exhibiting dance, now and then: exclusions and specificities
3.5 Conclusion
Case Study 3: Curation as Choreography-Copeland's Choreographing
(2007)
Case Study 4: Activating Dancer Agency in the Gallery-Adrian Heathfield's
Ghost Telephone (2016)
Case Study 5: Artist-Led Events-Shelley Lasica and Zoe Theodore,
To Do / To Make
Part III. Between the Twentieth and Twenty-First Centuries
Chapter 4: Between the Second- and Third-Wave Dance Avant-Garde
4.1 Introduction
4.2 Conceptual dance and the third-wave dance avant-garde
4.3 Continuity between recent experimental dance and the post-war neo-avant-garde
or Neo-Dada
4.4 Conclusion
Case Study 6: Boris Charmatz-Institutional Critique and Contemporary Dance Histories
Chapter 5: Choreography as Concept and Post-Disciplinarity
5.1 Introduction
5.2 Dancing versus choreography
5.3 Choreography as concept
5.4 Conclusion
Part IV: Concept and Material
Case Study 7: Adam Linder-Dance as a Contemporary Art Medium
Chapter 6: TheConceptual-Material Bind in Dance and Visual Art
6.1 Introduction
6.2 Conceptual work in dance and visual art
6.3 The persistence of a thing called dance
6.4 Conclusion
Chapter 7: The Limit Features of Dance's Social Condition (part 2)
7.1 Introduction
7.2 Breath 7.4 Tone
7.5 Movement
7.6 Force/Energy/Effort
7.7 Rhythm
7.8 Space-time
7.9 Conclusion
Case Study 8: Shelley Lasica-Context and Process
Case Study 9: Maria Hassabi-Between Sensation and Its Display
Part V: Beyond Dancing in the Gallery
Case Study 10: Agatha Gothe-Snape-Art as Gesture
Chapter 8: The Persistence of Dance at the Point of Its Disappearance
8.1 Introduction
8.2 The material genealogy of dance
8.3 Post-dance
8.4 Conclusion
Case Study 11: Latai Taumoepeau-Dancing Moana, Working with Urgency
Conclusion: Persistent Resistance
Bibliography
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
contemporary dance;contemporary art;conceptual dance;conceptual art;choreography;exhibitions;curation;dance analysis;art theory;dance history;art history;intermedial;materiality;conceptualism;museum;gallery;choreography as concept;poetics as method;mind-body;aesthetic philosophy;curation as choreography;artist-curators;experimental composition;post-dance;post-conceptual;post-disciplinary;post-medium
