Painting, Instantaneism, Cinema, America, Ballet, Illumination, Apollinaire

Attending closely to the implicit kineticism of Picabia's 1924 “Instantaneist Manifesto” and the musicalist aesthetic of his art, Annette Michelson considers the artist's interest in time and moving images, arguing that temporalization is the key impulse in his practice regardless of medium. This dedication to temporalization, the author claims, manifests not only as a fetishization of mobility and travel but more critically as the stimulus for interrelations between dance, cinema, painting, and poetry.