Edited by François Bovier, Adeena Mey. Text by Erika Balsom, François Bovier, Giuliana Bruno, Maeve Connolly, Greg de Cuir, Jr., Kate Mondloch, Julie Reiss, Maya Zoller.
Since the 1990s, a "cinematographic turn" has taken place in contemporary art, paralleled by the emergence of a "cinema of exhibition." This collection of new essays investigates the relationships between the "white cube" and the "black box," focusing mainly on the 1970s, a decade in which film practices and moving images were integrated into museums and art spaces.
The authors analyze multiple modalities of presenting the moving image through historical case studies: the anatomy of video art, expanded cinema, artists’ films and installations, and the moving image in the public sphere. Exploring examples from the 1930s to the present, these contributions address commercial, spectacular or advertising forms of moving images, artists’ performative practices, installations in large museums, exhibitions devoted to projections and festivals of experimental films.
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FORMAT: Pbk, 6 x 8.25 in. / 160 pgs / 8 b&w. LIST PRICE: U.S. $29.95 LIST PRICE: CANADA $39.95 ISBN: 9783037643884 PUBLISHER: JRP|Ringier AVAILABLE: 3/22/2016 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: Out of stock TERRITORY: NA LA ASIA AU/NZ AFR ME
Published by JRP|Ringier. Edited by François Bovier, Adeena Mey. Text by Erika Balsom, François Bovier, Giuliana Bruno, Maeve Connolly, Greg de Cuir, Jr., Kate Mondloch, Julie Reiss, Maya Zoller.
Since the 1990s, a "cinematographic turn" has taken place in contemporary art, paralleled by the emergence of a "cinema of exhibition." This collection of new essays investigates the relationships between the "white cube" and the "black box," focusing mainly on the 1970s, a decade in which film practices and moving images were integrated into museums and art spaces.
The authors analyze multiple modalities of presenting the moving image through historical case studies: the anatomy of video art, expanded cinema, artists’ films and installations, and the moving image in the public sphere. Exploring examples from the 1930s to the present, these contributions address commercial, spectacular or advertising forms of moving images, artists’ performative practices, installations in large museums, exhibitions devoted to projections and festivals of experimental films.
