soft fast simone forti di morse meredith (18 risultati)

Hard Cover. Condizione: near fine/near fine. First edition. 255pp A very nice copy in an equally nice dust jacket. In a brodart protective wrapper.

Condizione: Very Good.

Condizione: New.

Paperback or Softback. Condizione: New. Soft Is Fast: Simone Forti in the 1960s and After. Book.

Hardcover. Condizione: New. Condizione sovraccoperta: Very Good. New hardcover with unclipped dust jacket. Unread shop stock with minimal shelf wear. LW. New.

Condizione: As New. Unread book in perfect condition.

Hardcover. Condizione: Fine. Condizione sovraccoperta: Fine. 1st Edition. Covers & Spine: both front and back boards are undamaged with only light wear at the edges and corners, spine is solid with minimal bumping at ends. Binding: firm throughout, both hinges strong. Pages & Markings: unstained, no markings, clean throughout. Dust Jacket: intact with only light scuffing on surface and along edges, no tears or tape repairs. Genuinely impressive condition all round; could pass for new. All items are protectively packaged, and a postal tracking number will be sent to all customers whose current email address is registered with AbeBooks.

Condizione: Very Good. Ships from the UK. Former library book; may include library markings. Used book that is in excellent condition. May show signs of wear or have minor defects.

Hardback. , . Author: Meredith MorseFormat: HardbackNumber of Pages: 272An innovative analysis of Simone Forti's interdisciplinary art, viewing her influential 1960s "dance constructions" as negotiating the aesthetic strategies of John Cage and Anna Halprin.Simone Forti's art developed within the overlapping circles of New York City's advanced visual art, dance, and music of the early 1960s. Her "dance constructions" and related works of the 1960s were important for both visual art and dance of the era. Artists Robert Morris and Yvonne Rainer have both acknowledged her influence. Forti seems to have kept one foot inside visual art's frames of meaning and the other outside them. In Soft Is Fast, Meredith Morse adopts a new way to understand Forti's work, based in art historical analysis but drawing upon dance history and cultural studies and the history of American social thought. Morse argues that Forti introduced a form of direct encounter that departed radically from the spectatorship proposed by Minimalism, and prefigured the participatory art of recent decades. Morse shows that Forti's work negotiated John Cage's ideas of sound, score, and theater through the unique approach to movement, essentially improvisational and grounded in anatomical exploration, that she learned from performer and teacher Ann (later Anna) Halprin. Attentive to Robert Whitman's and La Monte Young's responses to Cage, Forti reshaped Cage's concepts into models that could accommodate Halprin's charged spaces and imagined, interpenetrative understanding of other bodies. Morse considers Forti's use of sound and her affective use of materials as central to her work; examines Forti's text pieces, little discussed in art historical literature; analyzes Huddle, considered one of Forti's signature works; and explicates Forti's later improvisational practice. Forti has been relatively overlooked by art historians, perhaps because of her work's central concern with modes of feeling and embodiment, unlike other art of the 1960s, which was characterized by strategies of depersonalization and affectlessness. Soft Is Fast corrects this critical oversight. Hardback.

Condizione: New.

Condizione: New.

Condizione: As New. Unread book in perfect condition.

Paperback. Condizione: Brand New. 272 pages. 9.00x7.00x0.67 inches. In Stock.

Condizione: New. Print on Demand.

Paperback / softback. Condizione: New. This item is printed on demand. New copy - Usually dispatched within 5-9 working days 369.

Condizione: New. PRINT ON DEMAND.

Taschenbuch. Condizione: Neu. Soft Is Fast | Simone Forti in the 1960s and After | Meredith Morse | Taschenbuch | Einband - flex.(Paperback) | Englisch | 2023 | MIT Press | EAN 9780262548939 | Verantwortliche Person für die EU: Libri GmbH, Europaallee 1, 36244 Bad Hersfeld, gpsr[at]libri[dot]de | Anbieter: preigu Print on Demand.

Taschenbuch. Condizione: Neu. nach der Bestellung gedruckt Neuware - Printed after ordering - An innovative analysis of Simone Forti's interdisciplinary art, viewing her influential 1960s "dance constructions" as negotiating the aesthetic strategies of John Cage and Anna Halprin.Simone Forti's art developed within the overlapping circles of New York City's advanced visual art, dance, and music of the early 1960s. Her "dance constructions" and related works of the 1960s were important for both visual art and dance of the era. Artists Robert Morris and Yvonne Rainer have both acknowledged her influence.Forti seems to have kept one foot inside visual art's frames of meaning and the other outside them. In Soft Is Fast, Meredith Morse adopts a new way to understand Forti's work, based in art historical analysis but drawing upon dance history and cultural studies and the history of American social thought. Morse argues that Forti introduced a form of direct encounter that departed radically from the spectatorship proposed by Minimalism, and prefigured the participatory art of recent decades.Morse shows that Forti's work negotiated John Cage's ideas of sound, score, and theater through the unique approach to movement, essentially improvisational and grounded in anatomical exploration, that she learned from performer and teacher Ann (later Anna) Halprin. Attentive to Robert Whitman's and La Monte Young's responses to Cage, Forti reshaped Cage's concepts into models that could accommodate Halprin's charged spaces and imagined, interpenetrative understanding of other bodies.Morse considers Forti's use of sound and her affective use of materials as central to her work; examines Forti's text pieces, little discussed in art historical literature; analyzes Huddle, considered one of Forti's signature works; and explicates Forti's later improvisational practice.Forti has been relatively overlooked by art historians, perhaps because of her work's central concern with modes of feeling and embodiment, unlike other art of the 1960s, which was characterized by strategies of depersonalization and affectlessness. Soft Is Fast corrects this critical oversight.