Ch’u Mayaa and the appropriation of the past:
The short video Ch’u Mayaa (Maya Blue, 2017) by artist Clarissa Tossin uses the Barnsdall (or Hollyhock) House, one of five Southern California textile block homes by Frank Lloyd Wright built in the early 1920s, as the setting for a dance performance by the choreographer Crystal Sepúlveda. Without d...
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| Format: | Elektronisch Artikel |
| Sprache: | English |
| Veröffentlicht: |
2023-07-06
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| Online-Zugang: | Volltext Volltext |
| Zusammenfassung: | The short video Ch’u Mayaa (Maya Blue, 2017) by artist Clarissa Tossin uses the Barnsdall (or Hollyhock) House, one of five Southern California textile block homes by Frank Lloyd Wright built in the early 1920s, as the setting for a dance performance by the choreographer Crystal Sepúlveda. Without dialogue or narration, the video raises complex issues about the use and appropriation of imagery and designs from the ancient Americas, and the ways in which a structure from the past, now designated an architectural landmark, can be reframed by contemporary artists. The essay concludes with a brief discussion of the author’s collaboration with Mexican artist Mariana Castillo Deball, a playful conceptual project which also highlights the relationship between the architecture of Frank Lloyd Wright and that of the ancient Maya |
| Beschreibung: | Illustrationen |
| ISSN: | 2701-1550 |
| DOI: | 10.11588/xxi.2023.2.96033 |
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| 520 | 3 | |a The short video Ch’u Mayaa (Maya Blue, 2017) by artist Clarissa Tossin uses the Barnsdall (or Hollyhock) House, one of five Southern California textile block homes by Frank Lloyd Wright built in the early 1920s, as the setting for a dance performance by the choreographer Crystal Sepúlveda. Without dialogue or narration, the video raises complex issues about the use and appropriation of imagery and designs from the ancient Americas, and the ways in which a structure from the past, now designated an architectural landmark, can be reframed by contemporary artists. The essay concludes with a brief discussion of the author’s collaboration with Mexican artist Mariana Castillo Deball, a playful conceptual project which also highlights the relationship between the architecture of Frank Lloyd Wright and that of the ancient Maya | |
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| spelling | Lerner, Jesse 19XX- Verfasser (DE-588)1057092177 aut Ch’u Mayaa and the appropriation of the past Jesse Lerner 2023-07-06 Illustrationen txt rdacontent c rdamedia cr rdacarrier The short video Ch’u Mayaa (Maya Blue, 2017) by artist Clarissa Tossin uses the Barnsdall (or Hollyhock) House, one of five Southern California textile block homes by Frank Lloyd Wright built in the early 1920s, as the setting for a dance performance by the choreographer Crystal Sepúlveda. Without dialogue or narration, the video raises complex issues about the use and appropriation of imagery and designs from the ancient Americas, and the ways in which a structure from the past, now designated an architectural landmark, can be reframed by contemporary artists. The essay concludes with a brief discussion of the author’s collaboration with Mexican artist Mariana Castillo Deball, a playful conceptual project which also highlights the relationship between the architecture of Frank Lloyd Wright and that of the ancient Maya Zusammenfassung in englischer Sprache Tossin, Clarissa 1973- (DE-588)130440051 gnd rswk-swf Geschichte 2017 gnd rswk-swf Tanz (DE-588)4059028-8 gnd rswk-swf Video (DE-588)4078895-7 gnd rswk-swf Drehort (DE-588)4409435-8 gnd rswk-swf Hollyhock House Los Angeles, Calif. (DE-588)4356053-2 gnd rswk-swf Tossin, Clarissa 1973- (DE-588)130440051 p Video (DE-588)4078895-7 s Tanz (DE-588)4059028-8 s Hollyhock House Los Angeles, Calif. (DE-588)4356053-2 g Drehort (DE-588)4409435-8 s Geschichte 2017 z DE-604 volume:4 number:2 year:2023 pages:245-258 21: inquiries into art, history, and the visual Heidelberg, 2023 Vol. 4, No. 2 (2023), Seite 245-258 (DE-604)BV046617927 2701-1550 (DE-600)3010740-4 https://doi.org/10.11588/xxi.2023.2.96033 Resolving-System Verlag kostenfrei Volltext https://journals.ub.uni-heidelberg.de/index.php/xxi/article/view/96033 Verlag kostenfrei Volltext |
| spellingShingle | Lerner, Jesse 19XX- Ch’u Mayaa and the appropriation of the past Tossin, Clarissa 1973- (DE-588)130440051 gnd Tanz (DE-588)4059028-8 gnd Video (DE-588)4078895-7 gnd Drehort (DE-588)4409435-8 gnd |
| subject_GND | (DE-588)130440051 (DE-588)4059028-8 (DE-588)4078895-7 (DE-588)4409435-8 (DE-588)4356053-2 |
| title | Ch’u Mayaa and the appropriation of the past |
| title_auth | Ch’u Mayaa and the appropriation of the past |
| title_exact_search | Ch’u Mayaa and the appropriation of the past |
| title_exact_search_txtP | Ch’u Mayaa and the appropriation of the past |
| title_full | Ch’u Mayaa and the appropriation of the past Jesse Lerner |
| title_fullStr | Ch’u Mayaa and the appropriation of the past Jesse Lerner |
| title_full_unstemmed | Ch’u Mayaa and the appropriation of the past Jesse Lerner |
| title_short | Ch’u Mayaa and the appropriation of the past |
| title_sort | ch u mayaa and the appropriation of the past |
| topic | Tossin, Clarissa 1973- (DE-588)130440051 gnd Tanz (DE-588)4059028-8 gnd Video (DE-588)4078895-7 gnd Drehort (DE-588)4409435-8 gnd |
| topic_facet | Tossin, Clarissa 1973- Tanz Video Drehort Hollyhock House Los Angeles, Calif. |
| url | https://doi.org/10.11588/xxi.2023.2.96033 https://journals.ub.uni-heidelberg.de/index.php/xxi/article/view/96033 |
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