Installation And The Moving Image
by Catherine Elwes /
2015 / English / PDF, EPUB
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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.
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.
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?"
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?"