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Gender and the forms of modernism: ...

Richmond, Patricia Margaret.

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Gender and the forms of modernism: Dancers and painters (Isadora Duncan, Loie Fuller, Martha Graham).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Gender and the forms of modernism: Dancers and painters (Isadora Duncan, Loie Fuller, Martha Graham)./
作者:	Richmond, Patricia Margaret.
面頁冊數:	482 p.
附註:	Source: Dissertation Abstracts International, Volume: 64-07, Section: A, page: 2292.
Contained By:	Dissertation Abstracts International64-07A.
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3097358

Gender and the forms of modernism: Dancers and painters (Isadora Duncan, Loie Fuller, Martha Graham).
Richmond, Patricia Margaret.

Gender and the forms of modernism: Dancers and painters (Isadora Duncan, Loie Fuller, Martha Graham). - 482 p.

Source: Dissertation Abstracts International, Volume: 64-07, Section: A, page: 2292.

Thesis (Ph.D.)--Case Western Reserve University, 2003.

Women have long been acknowledged as innovators in the world of modern dance. By contrasting the acceptance of women in the field of dance with the reception of contemporaneous women visual artists during the modernist period of the 1890s to the 1950s, this dissertation explores the effect of gender ideologies which associate ‘woman’ and dance with the physical body and ‘man’ and the visual arts with the intellect for the expression and interpretation of women's creativity in two different mediums.Subjects--Topical Terms:

635474
Art History.

Gender and the forms of modernism: Dancers and painters (Isadora Duncan, Loie Fuller, Martha Graham).
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245 1 0 $a Gender and the forms of modernism: Dancers and painters (Isadora Duncan, Loie Fuller, Martha Graham).
300 $a 482 p.
500 $a Source: Dissertation Abstracts International, Volume: 64-07, Section: A, page: 2292.
500 $a Adviser: Ellen G. Landau.
502 $a Thesis (Ph.D.)--Case Western Reserve University, 2003.
520 $a Women have long been acknowledged as innovators in the world of modern dance. By contrasting the acceptance of women in the field of dance with the reception of contemporaneous women visual artists during the modernist period of the 1890s to the 1950s, this dissertation explores the effect of gender ideologies which associate ‘woman’ and dance with the physical body and ‘man’ and the visual arts with the intellect for the expression and interpretation of women's creativity in two different mediums.
520 $a In the chapters of this dissertation, gender is seen as a central category of meaning for defining modernist art in both dance and visual mediums. Interdisciplinary links are forged by tracing common concerns and parallel currents in the writing of dance and art history from a feminist perspective. Modernism in dance and the visual arts are understood as differential modes of artistic practice conceived in opposition to previous and contemporaneous models.
520 $a I focus on the examples of three dancers, Loïe Fuller, Isadora Duncan, and Martha Graham, examining the evolution of their work and careers in terms of their self-perception and reception by contemporary audiences, critics, and art world figures. The role of gender in representations of these women by male painters, sculptors, and photographers frames their respective fulfillment of the roles of muse, woman, and artist. It is shown that as both subject and object, the dancer, in performance and in her depiction by male visual artists, had the potential to simultaneously subvert and reinforce stereotypical views of women and conventional morés.
520 $a In comparing and contrasting the careers of Fuller, Duncan, and Graham with well-known and lesser-known female visual artists, such as Mary Cassatt, Theresa Bernstein, Lee Krasner, and Elaine de Kooning, it is clear that women faced greater institutional hurdles in art schools, galleries, and museums than in the newly-pioneered modern dance world. However, in order to acknowledge the complexity of the production and reception of works by female visual artists in the context of their milieu, it is crucial to understand their experiences as processes of negotiation, rather than oppression.
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