Abstract
This chapter provides a detailed contextualising for the book, situating the collection in a broad theoretical and historical framework. It references the meetings that brought together experts in dance and visual arts, which led to the book. The discussion outlines the two main themes in the book that are explored by the writers—the subjective, lived relations with objects and the social sphere, and the different approaches to absence, visibility and resistance. Drawing on diverse theories and viewpoints, the introduction outlines each chapter, describing how the writers open up new thinking about dance and visual art, and the connections between each discipline’s discourses and practices.
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Notes
- 1.
We are aware that the use of this term may be considered somewhat contentious given that the practices featured in this collection might also fall under the umbrella terms of performance art, or even live art; however, such a debate is not our primary interest here. We are keen to stress the choreographic nature of these works and, as several authors in this collection position themselves clearly in the fields of dance practice and research, we have chosen to use the wide term ‘contemporary dance’ to cover such practices.
- 2.
See, for instance, Andrew Ballentyne, ‘The Nest and the Pillar of Fire’, in Andrew Ballentyne, ed., What is Architecture (London: Routledge, 2002).
- 3.
Edmund Husserl, Ideas: General Introduction to Pure Phenomenology, trans. W. R. Boyce Gibson (London: Allen and Unwin, New York: Humanities Press, 1931), esp. 101–103.
- 4.
Gilbert Simondon, L’Individu et sa Genese Physico-Biologique: L’individuation a la lumiere des notions de forme et d’information (Paris: Millon, 2005)
- 5.
For instance, Amelia Jones, Performing the Body/Performing the Text (London: Routledge, 1999), Susan A Crane, Museums and Memory (Stanford, Calif.: Stanford University Press, 2000), Malcolm Miles, Art, Space and the City (London: Routledge, 1997), Anthony Downey, Art and Politics Now (London: Thames and Hudson, 2014), Rosie Braidotti, Metamorphoses: Towards a materialist theory of becoming (John Wiley & Sons, 2013), Nicolas Bourriaud, Relational Aesthetics, trans. Simon Pleasance and Fronza Woods with Mathieu Copeland (Dijon: Presses du reel, 2002).
- 6.
See, for example, Mark Franko and Andre Lepecki (2014). ‘Dance in the Museum’, Dance Research Journal, (46:3) 2014.
- 7.
Doreen Massey, ‘A Place called Home’, New Formations 17 (1992), 3.
- 8.
Wendy Brown, Undoing the Demos: Neoliberalism’s Stealth Revolution (New York: Zone Books, 2005).
- 9.
See L. Garafola, Diaghilev’s Ballets Russes (Boston, Mass: Da Capo Press, 1998).
- 10.
See, for instance, Whitney Chadwick, ‘Reflecting on History and Histories’, in Dianna Burgess Fuller and Daniela Salvioni, eds., Art/Women/California 1950–2000: Parallels and Intersections (Berkeley CA and London: University of California Press, 2002), 21.
- 11.
- 12.
Nowhere and Everywhere at the Same Time (2009) at Tate Modern: https://www.tate.org.uk/research/publications/performance-at-tate/case-studies/william-forsythe
- 13.
- 14.
Lizzie Thomson, ‘Dance/Visual/Art’ in Critical Dialogues vol. 9 (Sydney: Critical Path, 2018), 4–7, 4.
- 15.
Maurice Berger ‘Gravity’s Rainbow’, in Hendel Teicher, ed., Trisha Brown: Dance and Art in Dialogue, 1961–2001 (Andover, MA: Addison Gallery of American Art, 2002), 17–23, 17.
- 16.
Jeff Kelley, ‘Introduction’, in Jeff Kelley, ed., Allan Kaprow: Essays on the Blurring of Art and Life’ (Berkeley, Los Angeles and London: University of California Press, 1993/2003), xi–xxvi, xi.
- 17.
Jeff Friedman, ‘Muscle Memory: Performing Embodied Knowledge’, in Richard Candida Smith, Art and the Performance of Memory: Sounds and Gestures of Recollection (London and New York: Routledge, 2002), 156–180, 161.
- 18.
For a discussion of this, please see Imogen Racz, Art and the Home: Comfort, Alienation and the Everyday (London and New York: I. B. Tauris, 2015), 1–2.
- 19.
See Rosalind Krauss, ‘Pictorial Space and the Question of Documentary, Artforum (November 1971), 68–71.
References
Ballentyne, Andrew. 2002. The Nest and the Pillar of Fire. In What is Architecture, ed. Andrew Ballentyne. London: Routledge.
Berger, Maurice. 2002. Gravity’s Rainbow. In Trisha Brown: Dance and Art in Dialogue, 1961–2001, ed. Hendel Teicher. Andover, MA: Addison Gallery of American Art.
Brown, Wendy. 2015. Undoing the Demos: Neoliberalism’s Stealth Revolution. New York: Zone Books.
Chadwick, Whitney. 2002. Reflecting on History and Histories. In Art/Women/California 1950–2000: Parallels and Intersections, ed. Dianna Burgess Fuller and Daniela Salvioni. Berkeley, CA and London: University of California Press.
Franko, Mark., and André Lepecki, eds. 2014. Dance in the Museum. Dance Research Journal 46 (3): 1–4.
Friedman, Jeff. 2002. Muscle Memory: Performing Embodied Knowledge. In Art and the Performance of Memory: Sounds and Gestures of Recollection, ed. Richard Candida Smith. London and New York: Routledge.
Garafola, Lynn. 1998. Diaghilev’s Ballets Russes. Boston, MA: Da Capo Press.
Husserl, Edmund. 1931. Ideas: General Introduction to Pure Phenomenology. Translated by W. R. Boyce Gibson. London: Allen and Unwin; New York: Humanities Press.
Kelley, Jeff. 1993/2003. Introduction. In Allan Kaprow: Essays on the Blurring of Art and Life, ed. Jeff Kelley. Berkeley; Los Angeles; London: University of California Press.
Krauss, Rosalind. 1971. Problems of Criticism X: Pictorial Space and the Question of Documentary. Artforum 10 (3): 68–71.
Massey, Doreen. 1992. A Place Called Home? New Formations 17: 3–15.
Racz, Imogen. 2015. Art and the Home: Comfort, Alienation and the Everyday. London and New York: I. B. Tauris.
Simondon, Gilbert. 2005. L’Individu et sa Genèse Physico- Biologique: L’individuation à la lumière des notions de forme et d’information. Paris: Millon.
Thomson, Lizzie. 2018. Introduction. Dance/Visual/Art. Critical Dialogues 9: 4–9.
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Crawley, ML., Paramana, K., Racz, I., Whatley, S. (2020). Introduction. In: Whatley, S., Racz, I., Paramana, K., Crawley, ML. (eds) Art and Dance in Dialogue. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-44085-5_1
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