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Soloing on the page, choreographer Annie-B Parson rethinks choreography as dance on paper. Parson draws her dances into new graphic structures calling attention to the visual facts of the materiality of each dance work she has made. These drawings serve as both maps of her pieces in the aftermath of performance, and a consideration of the elements of dance itself. Divided into three chapters, the book opens with diagrams of the objects in each of her pieces grouped into chart-structures. These charts reconsider her dances both from the perspective of the resonance of things, and for their abstract compositional properties. In chapter two, Parson delves into the choreographic mind, charting such ideas as an equality in the perception of objects and movement, and the poetics of a kinetic grammar. Charts of erasure, layering and language serve as dynamic and prismatic tools for dance making. Lastly, nodding to the history of chance operations in dance, Parson creates a generative card game of 52 compositional elements for artists of any medium to cut out and play as a method for creating new material. Within the duality of form and content, this book explores the meanings that form itself holds, and Parson's visual maps of choreographic ideas inspire new thinking around the shared elements underneath all art making.
Colorful mappings of choreographic ideas Soloing on the page, choreographer Annie-B Parson rethinks choreography as dance on paper. Parson draws her dances into new graphic structures calling attention to the visual facts of the materiality of each dance work she has made. These drawings serve as both maps of her pieces in the aftermath of performance, and a consideration of the elements of dance itself. Divided into three chapters, the book opens with diagrams of the objects in each of her pieces grouped into chart-structures. These charts reconsider her dances both from the perspective of the resonance of things, and for their abstract compositional properties. In chapter two, Parson delves into the choreographic mind, charting such ideas as an equality in the perception of objects and movement, and the poetics of a kinetic grammar. Charts of erasure, layering and language serve as dynamic and prismatic tools for dance making. Lastly, nodding to the history of chance operations in dance, Parson creates a generative card game of 52 compositional elements for artists of any medium to cut out and play as a method for creating new material. Within the duality of form and content, this book explores the meanings that form itself holds, and Parson's visual maps of choreographic ideas inspire new thinking around the shared elements underneath all art making.
They said only men could paint powerful pictures, but Helen Frankenthaler (1928-2011) splashed her way through the modern art world. Channeling deep emotion, Helen poured paint onto her canvas and danced with the colors to make art unlike anything anyone had ever seen. She used unique tools like mops and squeegees to push the paint around, to dazzling effects. Frankenthaler became an originator of the influential “Color Field” style of abstract expressionist painting with her “soak stain” technique, and her artwork continues to electrify new generations of artists today. Dancing Through Fields of Color discusses Frankenthaler’s early life, how she used colors to express emotion, and how she overcame the male-dominated art world of the 1950s.
"The first art-historical compendium on the dynamics of the line in drawing and dance. Dance and the visual arts have long since entered a relationship, yet an authoritative portrayal of the points at which they intersect has yet to be compiled. This publication assembles works by ca. forty different artists in an attempt to find a place in art history for the multilayered affinities between contemporary dance and the modern visual arts of the past forty years. The line is used to trace this history."--Gallery website.
Copy sheets to accompany the book can be downloaded and printed from the SAGE website: www.uk.sagepub.com/WriteDance2 --Book Jacket.
From ballet to burlesque, from the frontier jig to the jitterbug, Americans have always loved watching dance, whether in grand ballrooms, on Mississippi riverboats, or in the streets. Dance and American Art is an innovative look at the elusive, evocative nature of dance and the American visual artists who captured it through their paintings, sculpture, photography, and prints from the early nineteenth century through the mid-twentieth century. The scores of artists discussed include many icons of American art: Winslow Homer, George Caleb Bingham, Mary Cassatt, James McNeill Whistler, Alexander Calder, Joseph Cornell, Edward Steichen, David Smith, and others. As a subject for visual artists, dance has given new meaning to America’s perennial myths, cherished identities, and most powerful dreams. Their portrayals of dance and dancers, from the anonymous to the famous—Anna Pavlova, Isadora Duncan, Loïe Fuller, Josephine Baker, Martha Graham—have testified to the enduring importance of spatial organization, physical pattern, and rhythmic motion in creating aesthetic form. Through extensive research, sparkling prose, and beautiful color reproductions, art historian Sharyn R. Udall draws attention to the ways that artists’ portrayals of dance have defined the visual character of the modern world and have embodied culturally specific ideas about order and meaning, about the human body, and about the diverse fusions that comprise American culture.
Received a special citation from The de la Torre Bueno© First Book Award Committee of the Dance Studies Association (2020). The book has been hailed as "an invaluable addition to the scholarship on Bharatanatyam." Celluloid Classicism provides a rich and detailed history of two important modern South Indian cultural forms: Tamil Cinema and Bharatanatyam dance. It addresses representations of dance in the cinema from an interdisciplinary, critical-historical perspective. The intertwined and symbiotic histories of these forms have never received serious scholarly attention. For the most part, historians of South Indian cinema have noted the presence of song and dance sequences in films, but have not historicized them with reference to the simultaneous revival of dance culture among the middle-class in this region. In a parallel manner, historians of dance have excluded deliberations on the influence of cinema in the making of the "classical" forms of modern India. Although the book primarily focuses on the period between the late 1920s and 1950s, it also addresses the persistence of these mid-twentieth century cultural developments into the present. The book rethinks the history of Bharatanatyam in the twentieth century from an interdisciplinary, transmedia standpoint and features 130 archival images.
Design beautiful, professional-level animated effects with these detailed step-by-step tutorials from former Disney animator and animated effects expert Joseph Gilland. Filled with beautiful, full-color artwork, Elemental Magic, Volume II, breaks down the animated effect process from beginning to end-including booming explosions, gusting winds, magical incantations, and raging fires. He also breaks down the process of effects "clean-up," as well as timing and frame rates. The companion website includes real-time footage of the author lecturing as he animates the drawings from the book. In these videos, he elucidates the entire process from blank page to final animation. See it all come to life like never before. Throughout the book, Joseph refers to and includes examples from his own professional work from feature films such as Lilo & Stitch and Tarzan.
" ... this book is the definitive guide to the classical techniques for creating animated effects."--Page [4] of cover [v. I.].
There is a newfound interest in architectural drawing. Some of the most forward-looking architects worldwide are reinventing it to discover the radical possibilities of contemporary architecture as a rich mix of the virtual and the actual. Architectural drawing is adapting to compensate for these new changes to the discipline, and is being used to speculate on new paradigms of space and representation. This AD seeks to showcase the architects who are pushing the envelope of drawing in extraordinary ways, and their insights into architecture’s future spatial dexterity. The issue is built around an international group of architects involved in an ongoing KU Leuven Faculty of Architecture international drawing research project, who are creating new drawing methodologies in new and exciting realms. Their projects are written about from the perspective of architectural representation by critics and commentators from across the globe, illustrating a cornucopia of graphic verve and talent in this highly contemporary and thought-provoking issue. Contributors: Aaron Betsky, Penelope Haralambidou, Ulrika Karlsson, Michael McGarry, Nicholas de Monchaux, Ricardo de Ostos, Alberto Pérez-Gómez, Peter Salter, Chris L Smith, Wolfgang Tschapeller, Sarah de Villiers, Robin Wilson, and Jason Young. Drawings by: Bryan Cantley, Nat Chard, Peter Cook, Riet Eeckhout, CJ Lim, Perry Kulper, Metis (Mark Dorrian and Adrian Hawker), Shaun Murray, Smout Allen, Neil Spiller, Nada Subotincic, Michael Webb, Mark West, and Michael Young.