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Product Identifiers
PublisherDartmouth College
ISBN-101611687233
ISBN-139781611687231
eBay Product ID (ePID)205651813
Product Key Features
Number of Pages424 Pages
Publication NameLiving Line : Modern Art and the Economy of Energy
LanguageEnglish
Publication Year2015
SubjectMind & Body, History / Modern (Late 19th Century to 1945), Aesthetics, American / General, Dance / General, History / General
TypeTextbook
AuthorRobin Veder
Subject AreaArt, Philosophy, Performing Arts
FormatHardcover
Dimensions
Item Height0.1 in
Item Weight28 Oz
Item Length0.9 in
Item Width0.6 in
Additional Product Features
Intended AudienceCollege Audience
LCCN2014-036573
ReviewsThe Living Line offers the most incisive reading I know of the art of the pre-World War II avant-garde. Robin Veder's book illuminates in highly original ways the powerful and hitherto little-noticed influence of physiological aesthetics and body cultures on the artists, writers, and patrons who created American modernism., "Attentive to the rich culture of body-reform-muscular empathy, spines, handwriting, dance, physiological aesthetics-The Living Line skillfully draws a line between modernist animation and abstraction, revealing an aesthetic in which the strenuous life receives its answer in the bracing aesthetics of modernism. Robin Veder makes an important case for kinesthetic self-awareness as central to the work of Arthur B. Davis, Georgia O'Keefe, Katherine Dreier, John Dewey and many other American artists and thinkers."-Tim Armstrong, professor of modern literature, Royal Holloway, University of London, The Living Line describes a version of American modernism characterized by a widespread fascination with physical experiences and embodied ways of knowing. This 'kin-aesthetic modernism,' in Robin Veder's mobile analysis, can accommodate the visual arts, modern dance and performance, body cultures like Delsartism, psychological aesthetic theories, and even Taylorized approaches to industrial and military efficiency. From 1890-1930, kinaesthesia was understood as humanity's sixth sense, the loss of which might very well be our deprivation. This is interdisciplinary modernist studies at its best., "The Living Line is a stunningly original history of early American modernism. By analyzing art in relation to modern dance and other body cultures such as functional and rhythmic exercise systems, Robin Veder restores the long-neglected principle of physiological aesthetics to its rightful position as the engine of early twentieth-century modernist thought and creative action. This is a book that will radically refresh our ideas about the art and artists of that vital and exciting time."-Sarah Burns, professor emeritus of art history, Indiana University, "The Living Line offers the most incisive reading I know of the art of the pre-World War II avant-garde. Robin Veder's book illuminates in highly original ways the powerful and hitherto little-noticed influence of physiological aesthetics and body cultures on the artists, writers, and patrons who created American modernism."-Alan Wallach, Ralph H. Wark Professor of Art and Art History emeritus, the College of William and Mary, "The Living Line offers the most incisive reading I know of the art of the preWorld War II avant-garde. Robin Veder's book illuminates in highly original ways the powerful and hitherto little-noticed influence of physiological aesthetics and body cultures on the artists, writers, and patrons who created American modernism."-Alan Wallach, Ralph H. Wark Professor of Art and Art History emeritus, the College of William and Mary, "The Living Line describes a version of American modernism characterized by a widespread fascination with physical experiences and embodied ways of knowing. This 'kin-aesthetic modernism,' in Robin Veder's mobile analysis, can accommodate the visual arts, modern dance and performance, body cultures like Delsartism, psychological aesthetic theories, and even Taylorized approaches to industrial and military efficiency. From 1890-1930, kinaesthesia was understood as humanity's sixth sense, the loss of which might very well be our deprivation. This is interdisciplinary modernist studies at its best."-Carrie J. Preston, associate professor of English, Boston University,, The Living Line is a stunningly original history of early American modernism. By analyzing art in relation to modern dance and other body cultures such as functional and rhythmic exercise systems, Robin Veder restores the long-neglected principle of physiological aesthetics to its rightful position as the engine of early twentieth-century modernist thought and creative action. This is a book that will radically refresh our ideas about the art and artists of that vital and exciting time., "The Living Line describes a version of American modernism characterized by a widespread fascination with physical experiences and embodied ways of knowing. This 'kin-aesthetic modernism,' in Robin Veder's mobile analysis, can accommodate the visual arts, modern dance and performance, body cultures like Delsartism, psychological aesthetic theories, and even Taylorized approaches to industrial and military efficiency. From 1890-1930, kinaesthesia was understood as humanity's sixth sense, the loss of which might very well be our deprivation. This is interdisciplinary modernist studies at its best."-Carrie J. Preston, associate professor of English, Boston University, "The Living Line is a stunningly original history of early American modernism. By analyzing art in relation to modern dance and other body cultures such as functional and rhythmic exercise systems, Robin Veder restores the long-neglected principle of physiological aesthetics to its rightful position as the engine of early twentieth-century modernist thought and creative action. This is a book that will radically refresh our ideas about the art and artists of that vital and exciting time."-Sarah Burns, professor emeritus of art history, Indiana University,, "Veder's investigations establish connections among visual artists, patrons of modernism, progressive educational theorists such as John Dewey, and modern dance choreographer Ted Shawn, which demonstrates the breadth and popularity of body culture ideas and practices among the avant-garde of the preWW II US. . . . Recommended."- Choice, "The Living Line offers the most incisive reading I know of the art of the pre-World War II avant-garde. Robin Veder's book illuminates in highly original ways the powerful and hitherto little-noticed influence of physiological aesthetics and body cultures on the artists, writers, and patrons who created American modernism."-Alan Wallach, Ralph H. Wark Professor of Art and Art History emeritus, the College of William and Mary,, Veder's investigations establish connections among visual artists, patrons of modernism, progressive educational theorists such as John Dewey, and modern dance choreographer Ted Shawn, which demonstrates the breadth and popularity of body culture ideas and practices among the avant-garde of the pre-WW II US. . . . Recommended.
Dewey Edition23
TitleLeadingThe
IllustratedYes
Dewey Decimal709.73/0904
Table Of ContentAcknowledgments * Introduction: Body Cultures, Physiological Aesthetics, and Kin-aesthetic Modernism * Poise * Empathy * Motive * Habit * Shock * Signature * Caricature * Rhythm * Vibration * Discomfort * Organization * Notes * Bibliography * Index
SynopsisRobin Veder's The Living Line is a radical reconceptualization of the development of late-nineteenth- and early-twentieth-century American modernism. The author illuminates connections among the histories of modern art, body cultures, and physiological aesthetics in early-twentieth-century American culture, fundamentally altering our perceptions about art and the physical, and the degree of cross-pollination in the arts. The Living Line shows that American producers and consumers of modernist visual art repeatedly characterized their aesthetic experience in terms of kinesthesia, the sense of bodily movement. They explored abstraction with kinesthetic sensibilities and used abstraction to achieve kinesthetic goals. In fact, the formalist approach to art was galvanized by theories of bodily response derived from experimental physiological psychology and facilitated by contemporary body cultures such as modern dance, rhythmic gymnastics, physical education, and physical therapy. Situating these complementary ideas and exercises in relation to enduring fears of neurasthenia, Veder contends that aesthetic modernism shared industrial modernity's objective of efficiently managing neuromuscular energy. In a series of finely grained and interconnected case studies, Veder demonstrates that diverse modernists associated with the Armory Show, the Soci t Anonyme, the Stieglitz circle (especially O'Keeffe), and the Barnes Foundation participated in these discourses and practices and that "kin-aesthetic modernism" greatly influenced the formation of modern art in America and beyond. This daring and completely original work will appeal to a broad audience of art historians, historians of the body, and American culture in general., Robin Veder's The Living Line is a radical reconceptualization of the development of late-nineteenth- and early-twentieth-century American modernism. The author illuminates connections among the histories of modern art, body cultures, and physiological aesthetics in early-twentieth-century American culture, fundamentally altering our perceptions about art and the physical, and the degree of cross-pollination in the arts. The Living Line shows that American producers and consumers of modernist visual art repeatedly characterized their aesthetic experience in terms of kinesthesia, the sense of bodily movement. They explored abstraction with kinesthetic sensibilities and used abstraction to achieve kinesthetic goals. In fact, the formalist approach to art was galvanized by theories of bodily response derived from experimental physiological psychology and facilitated by contemporary body cultures such as modern dance, rhythmic gymnastics, physical education, and physical therapy. Situating these complementary ideas and exercises in relation to enduring fears of neurasthenia, Veder contends that aesthetic modernism shared industrial modernity's objective of efficiently managing neuromuscular energy. In a series of finely grained and interconnected case studies, Veder demonstrates that diverse modernists associated with the Armory Show, the Société Anonyme, the Stieglitz circle (especially O'Keeffe), and the Barnes Foundation participated in these discourses and practices and that "kin-aesthetic modernism" greatly influenced the formation of modern art in America and beyond. This daring and completely original work will appeal to a broad audience of art historians, historians of the body, and American culture in general.
LC Classification NumberN6512.5.M63V43 2015
