Simone Forti Your formalcontextual criticism of the art work

Simone Forti

Your formal/contextual criticism of the art work, and examples of other critic\'s or the general public\'s opinion Simone Forti?

Please provide with your references. Thanks

Solution

Simone Forti’s art revolutionized within the overlapping circles of New York City’s modern visual art, dance, and music of the early 1960s. Her “dance constructions” and related research of the 1960s were important for both visual art and dance of the era. She has understood and tried to ascertained these questions in her arcwork:

The first of its kind thematic exhibition under the aegis of the museum’s new guidance initiates a debate over a central part of the institution’s mission: making history out of artifacts. Looking beyond the narrow confines of art history, it focuses on works with a specific frame of reference: art that reflects on history and contemporary events as well as its own involvement. With more than 230 works by around forty artists, the show spans the period from the 17th century to the present. It engages both the museum’s own and other local collections as well as a variety of perspectives and artistic practices, including the rules of the art world itself, in a dialogue. The exhibition thus presents art with distinctive views on history and the artists behind it in a larger historical framework and surveys its origins as well as its contemporary manifestations. Forti\' s frustration with modem dance changed when she entered Robert Dunn\'s dance workshop at the Cunningham School in the fall of 1960. Dunn had worked extensively with Cunningham as a musician and composer and had attended John Cage\'s class, \"Composition of Experimental Music,\" at the New School for Social Research from 1958-1960. 15 Influenced by the innovative atmosphere of Cage\'s seminar, Dunn\'s instruction drew from an eclectic range of material, including Zen Buddhism, Taoism, and existentialism.16 He introduced his students to avant-garde music and explained to them John Cage\'s chance-based methods of composition. Forti was impressed with Cage\'s approach because it allowed for indeterminacy while retaining a sense of organized composition. She realized she could adapt his ideas to structure hr own dances.

Here are views of some other critics:

Simone Forti presented her first dance program in 1960 and since then has had a steadily increasing influence on post-modernist choreographers interested in exploring ‘natural’, or nonformalist, movement and dance. Stuart Comer, the Chief Curator of Media and Performance Art at MOMA, New York, has said that the exhibitions of Dance Constructions at the Reuben Gallery and Yoko Ono\'s loft were \"a watershed moment when the relationship between bodies and objects, movement and sculpture, was being fundamentally rethought.