| Description |
1 online resource |
| Contents |
Intro -- Contents -- Introduction. Artworks and Their Modalities of Egress -- The Air within and without Artworks -- Politics of Extravagation -- Mesologies of Form -- Medium and Milieu, or the Material Spaces of Air -- World Loss, Sitelessness, and the Artwork's Environments -- Aurai and Aura (Form and Space) -- Empathetic Artworks, Extensive Subjects -- Chapter 1. Aer, Aurae, Venti: Warburg's Aerial Forms and Historical Milieus -- Anima Fiorentina -- Inspiration -- Stimmung/Atmosphere -- Milieu as Air Ambiant -- The Accessories' Milieu -- Botticelli's Milieu -- The Physiology of Influence |
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Disciplinary Milieus -- Chapter 2. Luftraum: Riegl's Vitalist Mesology of Form -- Horror vacui -- Umgebung -- Indehiscent Forms -- Cubic Space ("Air-Filled Empty Space") -- Air Space -- Respiración -- External Unity -- Kunstwollen -- Chapter 3. Saturated Forms: Rilke's and Rodin's Sculpture of Environment -- Reticence and Radiance -- Aesthetico-Biological Endeavors -- "Archaic Torso of Apollo" -- Aesthetic Metabolisms -- Absorbed Milieus -- Gravid Forms -- Forms Striving for Incompletion -- Temporal Ecstasis |
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Chapter 4. The "Kinesphere" and the Body's Other Spatial Envelopes in Rudolf Laban's Theory of Dance -- Choreutics -- Spatiomaterial Radiance -- Psychophysiologically Saturated Space -- Anima, Air, Atmosphere: Laban and Kandinsky -- Luftkur, Plein Air -- Dance's Biological and Architectural Lifeworlds -- Coda. Space as Form -- Acknowledgments -- Notes -- Bibliography -- Index |
| Summary |
Margareta Ingrid Christian unpacks the ways in which, around 1900, art scholars, critics, and choreographers wrote about the artwork as an actual object in real time and space, surrounded and fluently connected to the viewer through the very air we breathe. Theorists such as Aby Warburg, Alois Riegl, Rainer Maria Rilke, and the choreographer Rudolf Laban drew on the science of their time to examine air as the material space surrounding an artwork, establishing its "milieu," "atmosphere," or "environment." Christian explores how the artwork's external space was seen to work as an aesthetic category in its own right, beginning with Rainer Maria Rilke's observation that Rodin's sculpture "exhales an atmosphere" and that Cezanne's colors create "a calm, silken air" that pervades the empty rooms where the paintings are exhibited. Writers created an early theory of unbounded form that described what Christian calls an artwork's ecstasis or its ability to stray outside its limits and engender its own space. Objects viewed in this perspective complicate the now-fashionable discourse of empathy aesthetics, the attention to self-projecting subjects, and the idea of the modernist self-contained artwork. For example, Christian invites us to historicize the immersive spatial installations and "environments" that have arisen since the 1960s and to consider their origins in turn-of-the-twentieth-century aesthetics. Throughout this beautifully written work, Christian offers ways for us to rethink entrenched narratives of aesthetics and modernism and to revisit alternatives |
| Bibliography |
Includes bibliographical references and index |
| Notes |
Description based on online resource; title from digital title page (viewed on June 09, 2021) |
| Subject |
Air in art.
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Space and time in art.
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Arts, Modern -- 20th century.
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ART / General.
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Air in art
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Arts, Modern
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Space and time in art
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| Form |
Electronic book
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| ISBN |
022676480X |
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9780226764801 |
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