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In the 1930s through 1950s, ballet was introduced to a popular audience in New York and was simultaneously influenced by developments in Europe in painting, photography, fashion, music, and poetry. Mauss reflects on this period of rich cross-media production and synergy, ultimately arguing for the inseparability of dance and art history. Reproductions of texts and artworks—by Paul Cadmus, George Platt Lynes, Dorothea Tanning, Carl Van Vechten, and others—are included along with historical images and installation photography of Mauss’s Whitney exhibition. Three other distinguished authors contribute essays on the subjects of ballet and the body, Mauss’s work as an artist and curator, and performance within museum spaces.[publisher's note]\u003c\/p\u003e","brand":"Dancing Foxes","offers":[{"title":"Default Title","offer_id":57357460537684,"sku":"A8B-27452","price":35.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1072\/9609\/6596\/files\/transmissions.jpg?v=1790812063"},{"product_id":"steve-paxton-drafting-interior-techniques","title":"Steve Paxton: Drafting Interior Techniques","description":"\u003cdiv class=\"std\"\u003eDancer, improviser, and choreographer Steve Paxton has been researching the “fiction” of cultured dance and the “truth” of improvisation for six decades. This book was published to accompany the first retrospective look at his work and legacy, curated by Romain Bigé and João Fiadeiro, held at Culturgest, Lisbon, in 2019. 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The publication provides multifaceted insight into some of the artist’s most celebrated choreographic works, including \u003cem\u003eTerrain \u003c\/em\u003e(1962), \u003cem\u003eTrio A \u003c\/em\u003e(1966), \u003cem\u003eContinuous Project-Altered Daily \u003c\/em\u003e(1970), \u003cem\u003eWar \u003c\/em\u003e(1970), \u003cem\u003eStreet Action \u003c\/em\u003e(1970), and \u003cem\u003eThis is the story of a woman who … \u003c\/em\u003e(1973)\u003cem\u003e, \u003c\/em\u003eamong many others.\u003c\/p\u003e\n\u003cp\u003eAssembled ostensibly as a survey, \u003cem\u003eWork 1961-73 \u003c\/em\u003efeatures a multitude of documentary forms, including scripts, excerpts from the artist’s notebooks, press reviews, correspondence, photographic documentation, literary excerpts, contextualizing texts by the artist, diagrams, film stills, floor plans, scores, and more. 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Amazing ephemera from clubs is interlaced with a script-like conversation between the editors and a cast of characters who embody the history, the feelings, the walls, the ideas, the bodies, the fictions, that are essential to the clubs—the whole issue developing as a dynamic, mobile, queer archive.\u003c\/p\u003e\n\u003cp\u003e“Missing the clubs of the past in one thing, not being able to dance a whole other thing.”\u003cbr\u003e—Jessica Gysel\u003c\/p\u003e\n\u003cp\u003e“The Club Scene is explored as a queer performative architecture acting as a supportive and life-sustaining space in dominator culture. A space that generates desire, generously supports our bodies and our bravest political ideas. A shared playground for nonconformist feeling and movement. \u003cbr\u003eWe are compiling this publication after working ourselves through the entire queer nightclub and then coming out again. It took us nine years. 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