Collecting Choreography

Simone Forti and Performance in the Contemporary Art Museum
1. Auflage 2027
ISBN: 978-0-520-43103-4
Verlag: University of California Press

Buch, Englisch, 296 Seiten, Cloth Over Boards, Format (B × H): 178 mm x 254 mm

Collecting Choreography is the first major study on the history of dance and performance acquisitions in art museums. Turning to the Museum of Modern Art’s 2015 acquisition of Simone Forti’s Dance Constructions (1960–61), a groundbreaking achievement for both the choreographer and the museum, Megan Metcalf examines how performance, especially dance, has informed the experience of preserving and exhibiting contemporary art. Metcalf tracks Forti’s performances from their first appearances in the early 1960s to their institutional acquisition, arguing that dance is still novel for institutional collecting even as it has long been present in museums. In doing so, Metcalf shows that the art museum’s interest in continuing certain dance legacies offers an important yet contested site for “preserving” live performance for the future, while theorizing a larger choreographic model underlying contemporary art and institutional practices in museums, fairs, and biennials worldwide.

Autoren/Hrsg.

Metcalf, Megan

Fachgebiete

• Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Tanz Geschichte des Tanzes
• Geisteswissenschaften Kunst Kunstgeschichte
• Geisteswissenschaften Kunst Kunstformen, Kunsthandwerk Installations-, Aktions-, Computer- und Videokunst
• Geisteswissenschaften Kunst Kunst, allgemein Kunstsammlung, Museen, Ausstellungen

Inhaltsverzeichnis

Contents
Preface
Introduction
Part I: Dance in and out of the Museum
1. An Enthusiastic yet Haphazard Embrace: Dancing in (Mostly) US Museums, 1918–2018
2. Downtown and Underground: Simone Forti and the Dance Constructions, 1960–1977
Part II: Acquiring Simone Forti’s Dance Constructions (2009–2016)
3. Dance as Art Object: Materializing the Dance Constructions
4. Securing the Dance Constructions’ History and Ensuring Their Authenticity
5. Transforming Conservation into Continuation
6. Huddle’s “Life of Its Own”
Conclusion
Acknowledgments
Biographical Notes: Individuals, Collectives, and Companies
Notes
Bibliography
List of Illustrations
Index

Über Autor(innen)

Megan Metcalf is Assistant Professor of Art History at New Mexico State University.