Film and video create an illusory world, a reality elsewhere, and a
material presence that both dramatizes and demystifies the magic
trick of moving pictures. Beginning in the 1960s, artists have
explored filmic and televisual phenomena in the controlled
environments of galleries and museums, drawing on multiple
antecedents in cinema, television, and the visual arts. This volume
traces the lineage of moving-image installation through
architecture, painting, sculpture, performance, expanded cinema,
film history, and countercultural film and video from the 1960s,
1970s, and 1980s. Sound is given due attention, along with the
shift from analogue to digital, issues of spectatorship, and the
insights of cognitive science. Woven into this genealogy is a
discussion of the procedural, political, theoretical, and
ideological positions espoused by artists from the mid-twentieth
century to the present. Historical constructs such as Peter Gidal's
structural materialism, Maya Deren's notion of vertical and
horizontal time, and identity politics are reconsidered in a
contemporary context and intersect with more recent thinking on
representation, subjectivity, and installation art. The book is
written by a critic, curator, and practitioner who was a pioneer of
British video and feminist art politics in the late 1970s. Elwes
writes engagingly of her encounters with works by Anthony McCall,
Gillian Wearing, David Hall, and Janet Cardiff, and her narrative
is informed by exchanges with other practitioners. While the book
addresses the key formal, theoretical, and historical parameters of
moving-image installation, it ends with a question: "What's in it
for the artist?"
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