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In early twentieth-century Europe, the watershed developments of pictorial abstraction, modern dance, and cinema coincided to shift the artistic landscape and the future of modern art. In Moving Modernism, Nell Andrew challenges assumptions about modernist 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 turn of the century to the interwar period including dancer Lo�e 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 modernist form but as an apparatus of creation, perception, and reception across artistic media.
Nell Andrew is Associate Professor of Art History and Co-Director of the Interdisciplinary Modernisms Workshop at the University of Georgia, Athens. She teaches and researches in the fields of modern art and the historical avant-garde, dance history, and early film.
- Acknowledgements
- Introduction: The Medium is a Muscle
- Chapter one: The Idea in Motion: Loïe Fuller at the Banquet
- Chapter two: Futurist Moment/um: Valentine de Saint-Point's Métachorie
- Chapter three: Dada Dance: Sophie Taeuber's Visceral Abstraction
- Chapter four: Living Art: Akarova's Music-Architecture
- Chapter five: The Dance of Abstract Cinema
- List of Illustrations
- Selected Bibliography
- Index
