Making the Museum Dance: Simone Forti’s Huddle (1961) and its Acquisition by the Museum of Modern Art

IF 0.1 3区艺术学 0 DANCE

DANCE CHRONICLE Pub Date : 2022-01-02 DOI:10.1080/01472526.2021.2024724

M. Metcalf

引用次数: 0

Abstract

Abstract In 2015, Simone Forti’s Dance Constructions, a group of understated, equipment-based performances from 1960–1961, entered the permanent collection of the Museum of Modern Art in New York (MoMA) as the museum’s first acquisition of historical dance works. This essay details Forti’s arrangements with MoMA for the Dance Construction Huddle, which complicated the already complicated proposition of how to collect and care for dances in a visual art institution. Examined closely, the acquisition process reveals both how the museum transformed Forti’s work and how Huddle—and dance more generally—presses back on the institution and its investments in objecthood, singular authorship, and private property.

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使博物馆起舞:西蒙娜·福蒂的《挤在一起》(1961)及其被现代艺术博物馆收购

2015年，Simone Forti的《舞蹈构造》(Dance Constructions)成为纽约现代艺术博物馆(MoMA)第一批历史舞蹈作品的永久收藏，这是一组1960-1961年间低调的、基于设备的表演。这篇文章详细介绍了Forti与现代艺术博物馆在舞蹈建设会议上的安排，这使得如何在视觉艺术机构中收集和照顾舞蹈这个已经很复杂的命题变得更加复杂。仔细观察，收购过程揭示了博物馆是如何改变Forti的作品的，以及huddle(更广泛地说，dance)是如何压制该机构及其在客体性、单一作者和私有财产方面的投资的。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

DANCE CHRONICLE DANCE-

CiteScore

0.40

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0.00%

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