Moving Modernism

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 <em>Moving Modernism</em> 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.<br>