K Mitchell Snow
Biographic Data
| ID | 6185400 |
|---|---|
| NAME | K Mitchell Snow |
| GIVEN NAMES | K Mitchell |
| FAMILY NAME | Snow |
| SIGNATURE | SNOW K M |
| AFFILIATIONS | University of Exeter |
| ORCID | 0000-0002-6281-5374 |
| VERIFIED | Yes |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 7 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1999 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
Power to the posers: Delsartean women, the law of correspondence and the classical male body
In the late nineteenth century, female adherents of the Delsartean physical culture movement in the USA would perform statue poses as part of their training and public appearances, employing both male and female statues in their work. This article positions this practice within seventeenth‐ and eighteenth‐century historical trajectories of the visual, rhetorical and performing arts and the allegorical meanings that prior generations had mapped on…
Popular Art and Propaganda for Export: The Tangled Backstory of the Failure of the Broadway Musical Revue Upa y Apa/ Mexicana (1939)
The musical revue Mexicana, billed as the first Broadway production by a foreign government, faced formidable challenges. Its origin as part of a scam by aspiring film producer Sam Spiegel, who took advantage of German political theatre director Ernst Piscator’s proposed move to Mexico, was only one. Despite its inauspicious beginnings, it was at the insistence of President Cárdenas’s Director de Bellas Artes, Celestino Gorostiza, that the revue …
Violent discharges: The French breast in British revolutionary era caricature
After some initial enthusiasm, public sympathy for the French Revolution waned in Britain in the 1790s. Growing violence stirred suspicion that revolutionary principles were giving way to radical despotism, and that anarchy was imminent. Satirical prints captured and propagated this disillusion, caricaturing the French as grotesque and threatening. The female body proved an especially fruitful resource; a colourful cast of cannibalistic crones, h…
Does this fig leaf make me look gay? Strongmen, statue posing and physique photography
Studies of the male nude in photography assume a necessity to ‘desexualize’ early physique photographs, which they treat as evidence of proto-gay sensibilities, by reference to classical sculpture. The satirical prints of Thomas Rowlandson inspired in the antiquarian craze of the late eighteenth century, including that of Emma Hart who helped to establish the conventions of the modern living statue genre, indicate that audiences of that time unde…
Orientalized Aztecs: Observations on the Americanization of Theatrical Dance
The opening decades of the twentieth century saw a passing fashion for “Aztec” dancing in the vaudeville theaters of the United States. Russian classical dancers Kosloff and Fokine tapped the orientalist currents of the Ballets Russes, adopting the Aztec as superficial signs of the American. Conversely, works by Shawn and film director Cecil B. DeMille, which served as points of reference for the Russians, represented a continuation of equally or…
Martha Graham, Mexico, and the American Gesture
This essay argues that Martha Graham consciously created narratives about her 1932 journey to Mexico to position her theatrical dance as a legitimate American art form. Promoted as part of her search for an “American gesture,” her trip there manifested her intent to locate her dance firmly within the context of the land-based, nativist currents of modernism in the United States. While the lands and peoples of the Americas may have provided cataly…
Muriel H. Hasbun: Landscapes of Light
Instead of ashes and flame, Arabic calligraphy rises from the cone ofEl Salvador's Izalco volcano, the fumed lighthouse of the Pacific (figure 1). The Salvadoran photographer Muriel Hasbun has suspended one of her great-grandfather's prayers invoking ‘all the saints and martyrs’ above the volcano's distinctive pyramidal form. The juxtaposition is both unexpected and memorable. Created as a consequence of almost imperceptible geologic migrations, …
Martha Graham, Mexico, and the American Gesture
This essay argues that Martha Graham consciously created narratives about her 1932 journey to Mexico to position her theatrical dance as a legitimate American art form. Promoted as part of her search for an “American gesture,” her trip there manifested her intent to locate her dance firmly within the context of the land-based, nativist currents of modernism in the United States. While the lands and peoples of the Americas may have provided cataly…
Muriel H. Hasbun: Landscapes of Light
Instead of ashes and flame, Arabic calligraphy rises from the cone ofEl Salvador's Izalco volcano, the fumed lighthouse of the Pacific (figure 1). The Salvadoran photographer Muriel Hasbun has suspended one of her great-grandfather's prayers invoking ‘all the saints and martyrs’ above the volcano's distinctive pyramidal form. The juxtaposition is both unexpected and memorable. Created as a consequence of almost imperceptible geologic migrations, …
Martha Graham, Mexico, and the American Gesture
This essay argues that Martha Graham consciously created narratives about her 1932 journey to Mexico to position her theatrical dance as a legitimate American art form. Promoted as part of her search for an “American gesture,” her trip there manifested her intent to locate her dance firmly within the context of the land-based, nativist currents of modernism in the United States. While the lands and peoples of the Americas may have provided cataly…
Does this fig leaf make me look gay? Strongmen, statue posing and physique photography
Studies of the male nude in photography assume a necessity to ‘desexualize’ early physique photographs, which they treat as evidence of proto-gay sensibilities, by reference to classical sculpture. The satirical prints of Thomas Rowlandson inspired in the antiquarian craze of the late eighteenth century, including that of Emma Hart who helped to establish the conventions of the modern living statue genre, indicate that audiences of that time unde…
Orientalized Aztecs: Observations on the Americanization of Theatrical Dance
The opening decades of the twentieth century saw a passing fashion for “Aztec” dancing in the vaudeville theaters of the United States. Russian classical dancers Kosloff and Fokine tapped the orientalist currents of the Ballets Russes, adopting the Aztec as superficial signs of the American. Conversely, works by Shawn and film director Cecil B. DeMille, which served as points of reference for the Russians, represented a continuation of equally or…
Violent discharges: The French breast in British revolutionary era caricature
After some initial enthusiasm, public sympathy for the French Revolution waned in Britain in the 1790s. Growing violence stirred suspicion that revolutionary principles were giving way to radical despotism, and that anarchy was imminent. Satirical prints captured and propagated this disillusion, caricaturing the French as grotesque and threatening. The female body proved an especially fruitful resource; a colourful cast of cannibalistic crones, h…
Popular Art and Propaganda for Export: The Tangled Backstory of the Failure of the Broadway Musical Revue Upa y Apa/ Mexicana (1939)
The musical revue Mexicana, billed as the first Broadway production by a foreign government, faced formidable challenges. Its origin as part of a scam by aspiring film producer Sam Spiegel, who took advantage of German political theatre director Ernst Piscator’s proposed move to Mexico, was only one. Despite its inauspicious beginnings, it was at the insistence of President Cárdenas’s Director de Bellas Artes, Celestino Gorostiza, that the revue …
Power to the posers: Delsartean women, the law of correspondence and the classical male body
In the late nineteenth century, female adherents of the Delsartean physical culture movement in the USA would perform statue poses as part of their training and public appearances, employing both male and female statues in their work. This article positions this practice within seventeenth‐ and eighteenth‐century historical trajectories of the visual, rhetorical and performing arts and the allegorical meanings that prior generations had mapped on…
Art (6 works) · Art history (6 works) · History (4 works) · Law (4 works) · Political science (4 works) · Visual arts (4 works) · Archaeology (2 works) · Dance (2 works) · Latin American and Latino Studies (2 works) · Literature (2 works)