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The Perils and Possibilities of Dance in the Museum: Tate, MoMA, and Whitney

Published online by Cambridge University Press:  13 January 2015

Claire Bishop
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Abstract

This article argues that the art world's current fascination for dance follows on from a previous high point of interaction in the late 1960s and 1970s, and before that, a moment in the late 1930s and early 1940s. It traces these first, second, and third waves of dance in the museum at three institutions: the Tate in London, and the Museum of Modern Art and the Whitney Museum of American Art in New York. Three institutional histories are sketched, drawing out the differences between their approaches. The conclusion presents the four most pressing possibilities/problems of presenting dance in the museum: historical framing, spectatorship, altering the work's meaning, and financial support.

Keywords

Anne Teresa De KeersmaekerBoris CharmatzComposers' WorkshopcuratingdanceDeborah HayJerome BelMichael ClarkMoMAmuseumsperformanceprogrammingRobert MorrisSarah MichelsonSteve PaxtonTateWhitneyTino SehgalTrisha Brown
Type
Articles
Information
Dance Research Journal , Volume 46 , Issue 3: Dance in the Museum , December 2014 , pp. 63 - 76
Copyright
Copyright © Congress on Research in Dance 2014 

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