Please use this identifier to cite or link to this item: 192.168.6.56/handle/123456789/26941
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dc.contributor.authorChristina, Chau-
dc.contributor.editorErnest Edmonds-
dc.date.accessioned2018-12-03T11:23:51Z-
dc.date.available2018-12-03T11:23:51Z-
dc.date.issued2017-
dc.identifier.isbn978-981-10-4705-3-
dc.identifier.urihttp://10.6.20.12:80/handle/123456789/26941-
dc.descriptionThis chapter highlights that kinetic sculpture has at times been used in art history today to refer to an antiquated artistic practice, which has consequently contributed to a long-standing ‘flagrant dearth’ of critical and historical engagement with movement in art. Despite this attitude there has been an increasing amount of exhibitions which have turned to avant-garde kinetic artworks and sought new interpretations of the roles and affects of movement in sculpture and installation. This chapter argues that this turn towards movement in art contributes to a key trend in contemporary art and give indication to our current sense of contemporaneity in art and society.-
dc.languageenen_US
dc.language.isoenen_US
dc.publisherSpringeren_US
dc.subjectMovement, Time, Technology, and Arten_US
dc.titleMovement, Time, Technology, and Arten_US
dc.typeBooken_US
Appears in Collections:Theatrical Arts

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