Published by Woodshed Films/T.Adler Books. Introduction and photographs by Keith Malloy. Foreword by Jeff Johnson. Text by Dave Parmenter, Bruce Jenkins, Mark Cunningham, John Clark, Judith Sheridan.
The Plight of the Torpedo People is a collection of bodysurfing photographs, frame grabs and personal essays documenting the making of Keith Malloy’s first film, Come Hell or High Water--the first feature-length film to be made about the sport of bodysurfing--between May 2009 and August 2011. A winner of Best Film and Best Cinematography awards on the festival circuit, Come Hell or High Water explores the history and development of bodysurfing alongside the purity of experience that is riding a wave, taking a unique look at the culture and beauty of the sport, while capturing the stories and locations of those who belong to its community. The film’s unanticipated popularity may well reflect the less-is-more, environmentally aware consciousness of our times; as the simplest of all ocean sports, bodysurfing requires little more than swim fins and some waves. The Plight of the Torpedo People is a collaborative work by the best bodysurfers of today, captured doing what they do best by some of the world’s best surf cinematographers and photographers. With 69 photographs in color, the book includes an introduction by Keith Malloy.
PUBLISHER WOODSHED FILMS/T.ADLER BOOKS
BOOK FORMAT Hardcover, 12 x 8.25 in. / 100 pgs / 69 color / 8 duotone.
PUBLISHING STATUS PUB DATE 1/28/2013 Out of print
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: SPRING 2013 p. 49
PRODUCT DETAILS ISBN 9781938922084TRADE LIST PRICE: $45.00 CDN $55.00
AVAILABILITY Not available
STATUS: Out of print | 00/00/00
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Published by Wexner Center for the Arts. Essays by George Baker, Gregg Bordowitz, Aruna D'Souza, Bill Horrigan, Bruce Jenkins, Helen Molesworth and Hamza Walker. Introduction by Sherri Geldin.
Image Stream brings together eight gallery-based film and video works, each of which explore the limits of this new medium, returning to narrative and changing conventional modes of viewing. Curator Helen Molesworth in this her first exhibition for the Wexner Art Center has selected works by Kutlug Ataman, Matthew Barney, Tacita Dean, Andrea Fraser, Pierre Huyghe, Neil Jordan, Donald Moffett and Lorna Simpson, each of which is accompanied by an individual short analytical essay. As Molesworth writes in her introduction, “the hygenic isolation of the white cube has slowly, but steadily, been overtaken by an increasingly promiscuous black box. As any turn-of-the-century member of the art public knows, darkened rooms and heavy black curtains signal the omnipresent film and/or video installation.” If an earlier generation of film and video artists were concerned with the formal properties of film, she argues, today's contemporary artists “willingly explore visual forms borrowed from both Hollywood and auteur film, as well as television, MTV, CNN and the theater. This profligate borrowing of mass-media forms has been accompanied by a strong impulse towards narrative.” It is what Molesworth calls this “reciprocity” between art world and mass culture that is a “defining characteristic of contemporary projected images.”
Published by Walker Art Center. Photographs by Bruce Conner. Edited by Joan Rothfuss. Contributions by Kathy Halbreich, Bruce Jenkins, Peter Boswell.
Bruce Conner (1933-2008) first came to prominence in the late 1950s as a leader of the assemblage movement in California. Conner had close ties with poets of the San Francisco Renaissance (particularly Michael McClure) as well as with artists such as Wallace Berman, George Herms, Jess and Jay DeFeo. Conner's use of nylon stockings in his assemblages quickly won him notoriety, and saw his work included in Peter Selz's classic 1961 Art of Assemblage show at MoMA. Around this time, Conner also turned to film-making, and produced in swift succession a number of short films that helped to pioneer the rapid edit and the use of pop music among independent film-makers. Conner's innovative editing techniques and decidedly dark vision of American culture laid the foundation for later Hollywood directors such as Dennis Hopper (a friend and collaborator of Conner's, who frequently acknowledged his influence) and David Lynch. A long overdue and significant addition to the understanding of twentieth-century American art and cinema, 2000 BC: The Bruce Conner Story Part II represents the most comprehensive book to date on Conner's work from the 1950s to the present. The authors elucidate Conner's work in film, assemblage, drawing, printmaking, collage,and photograms, as well as his more ephemeral gestures, actions, protests and "escapes" from the art world. This beautifully designed clothbound monograph is a landmark publication for anyone interested in contemporary art, film, culture and the Beat era.