Steven Jacobs
- Published in print:
- 2011
- Published Online:
- September 2012
- ISBN:
- 9780748640171
- eISBN:
- 9780748670901
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748640171.003.0006
- Subject:
- Film, Television and Radio, Film
While all previous chapters discuss art in film, the paragraphs dealing with the ‘cinematic’ in contemporary photography and video art invert this relation by focusing on film in art. This is also ...
More
While all previous chapters discuss art in film, the paragraphs dealing with the ‘cinematic’ in contemporary photography and video art invert this relation by focusing on film in art. This is also the scope of the sixth and last chapter, which discusses the omnipresence of the filmic image in contemporary art museums and exhibitions. Not coincidentally, the conquest of the museum by the projected image coincided with the notions of the ‘death of cinema’ and the age of ‘post-cinema.’ Such ideas were particularly expressed by Godard in his Histoire(s) du cinéma, which presented itself not only as a reflection on the relations between film and history but also as an investigation of the relation between cinema and the other arts, especially the pictorial tradition. This chapter shows how modernist cinema found refuge in the museum, where it metamorphosed into new phenomena such as video art or film installations. In particular, this chapter focuses on the ways artists have appropriated the films of Hitchcock.Less
While all previous chapters discuss art in film, the paragraphs dealing with the ‘cinematic’ in contemporary photography and video art invert this relation by focusing on film in art. This is also the scope of the sixth and last chapter, which discusses the omnipresence of the filmic image in contemporary art museums and exhibitions. Not coincidentally, the conquest of the museum by the projected image coincided with the notions of the ‘death of cinema’ and the age of ‘post-cinema.’ Such ideas were particularly expressed by Godard in his Histoire(s) du cinéma, which presented itself not only as a reflection on the relations between film and history but also as an investigation of the relation between cinema and the other arts, especially the pictorial tradition. This chapter shows how modernist cinema found refuge in the museum, where it metamorphosed into new phenomena such as video art or film installations. In particular, this chapter focuses on the ways artists have appropriated the films of Hitchcock.
Michael F. Leruth
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9780262036498
- eISBN:
- 9780262339926
- Item type:
- book
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262036498.001.0001
- Subject:
- Art, Visual Culture
This book introduces readers to the iconoclastic work of the French media artist Fred Forest. A pioneer in the fields of video art in the 1960s and internet art in the 1990s, and cofounder of the ...
More
This book introduces readers to the iconoclastic work of the French media artist Fred Forest. A pioneer in the fields of video art in the 1960s and internet art in the 1990s, and cofounder of the Sociological Art Collective (1974) and the Aesthetics of Communication International Group (1983), Forest is best known as an ironic media hijacker and tinkerer of unconventional interfaces and alternative platforms for interactive communication that are accessible to the general public outside the exclusive precincts of the art world. He has also made headlines as an outspoken critic of the French contemporary art establishment, most famously by suing the Centre Pompidou in 1994 over its opaque acquisitions practices. This book surveys Forest’s work from the late 1960s to the present with particular emphasis on his prankster modus operandi, his advocacy of an existentially relevant form of counter-contemporary art―or “invisible system-art”―based on the principle of metacommunication (i.e., tasked with exploring the “immanent realities” of the virtual territory in which modern electronic communication takes place), his innovative “social” and “relational” use of a wide range of media from newspapers to Second Life, his attention-grabbing public interventions, and the unusual utopian dimension of his work. Never a hot commodity in the art world, Forest’s work has nonetheless garnered the attention and appreciation of a wide range of prominent intellectuals, critics, curators, technology innovators, and fellow artists including Marshall McLuhan, Edgar Morin, Vilém Flusser, Abraham Moles, Jean Duvignaud, Paul Virilio, Pierre Lévy, Pierre Restany, Frank Popper, Harald Szeeman, Robert C. Morgan, Vinton Cerf, Roy Ascott, and Eduardo Kac.Less
This book introduces readers to the iconoclastic work of the French media artist Fred Forest. A pioneer in the fields of video art in the 1960s and internet art in the 1990s, and cofounder of the Sociological Art Collective (1974) and the Aesthetics of Communication International Group (1983), Forest is best known as an ironic media hijacker and tinkerer of unconventional interfaces and alternative platforms for interactive communication that are accessible to the general public outside the exclusive precincts of the art world. He has also made headlines as an outspoken critic of the French contemporary art establishment, most famously by suing the Centre Pompidou in 1994 over its opaque acquisitions practices. This book surveys Forest’s work from the late 1960s to the present with particular emphasis on his prankster modus operandi, his advocacy of an existentially relevant form of counter-contemporary art―or “invisible system-art”―based on the principle of metacommunication (i.e., tasked with exploring the “immanent realities” of the virtual territory in which modern electronic communication takes place), his innovative “social” and “relational” use of a wide range of media from newspapers to Second Life, his attention-grabbing public interventions, and the unusual utopian dimension of his work. Never a hot commodity in the art world, Forest’s work has nonetheless garnered the attention and appreciation of a wide range of prominent intellectuals, critics, curators, technology innovators, and fellow artists including Marshall McLuhan, Edgar Morin, Vilém Flusser, Abraham Moles, Jean Duvignaud, Paul Virilio, Pierre Lévy, Pierre Restany, Frank Popper, Harald Szeeman, Robert C. Morgan, Vinton Cerf, Roy Ascott, and Eduardo Kac.
László F. Földényi
- Published in print:
- 2011
- Published Online:
- August 2015
- ISBN:
- 9780816648740
- eISBN:
- 9781452945972
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816648740.003.0013
- Subject:
- Film, Television and Radio, Film
This chapter examines the installations of Péter Forgács. The installations of Forgács are life spaces. The space is distributed with precision: the object creates a logical, as well as emotional, ...
More
This chapter examines the installations of Péter Forgács. The installations of Forgács are life spaces. The space is distributed with precision: the object creates a logical, as well as emotional, web. In Hungarian Kitchen Video Art, the process of demonstration creates a new space that becomes natural by way of unnaturalness. Forgács uses a corner in which to install his “kitchen art,” an ironic reference to the use of corners to display religious icons in Russian culture. The installations of Forgács are analytical in the literal meaning of the word. In The Case of My Room, for example, the installation divides one singe space into two rooms reminiscent of the two halves of the brain.Less
This chapter examines the installations of Péter Forgács. The installations of Forgács are life spaces. The space is distributed with precision: the object creates a logical, as well as emotional, web. In Hungarian Kitchen Video Art, the process of demonstration creates a new space that becomes natural by way of unnaturalness. Forgács uses a corner in which to install his “kitchen art,” an ironic reference to the use of corners to display religious icons in Russian culture. The installations of Forgács are analytical in the literal meaning of the word. In The Case of My Room, for example, the installation divides one singe space into two rooms reminiscent of the two halves of the brain.
Andrew V. Uroskie
- Published in print:
- 2014
- Published Online:
- September 2014
- ISBN:
- 9780226842981
- eISBN:
- 9780226109022
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226109022.003.0006
- Subject:
- Society and Culture, Media Studies
Explores the 1966 New York Film Festival as the paradoxical zenith and culmination of the Expanded Cinema’s popularity within the “film art” community, and the subsequent turn away from established ...
More
Explores the 1966 New York Film Festival as the paradoxical zenith and culmination of the Expanded Cinema’s popularity within the “film art” community, and the subsequent turn away from established institutions of art and film. The first section describes Warhol’s creation of the “Factory” as an alternative space in which the line between media exhibition and media production is purposely blurred. Situates Warhol’s innovative use of videotape within Outer and Inner Space (1965) in the context of his earlier practice of film and audiotape recording, and contends that this cinematic double portrait of Edie Sedgwick exemplifes the site of the Factory itself an experiment in the the social and psychological ramifications of feedback in the televisual era. The second section explores a radically different work from the same moment was similarly invested in conjoining film and video in an exploration of social feedback: Ken Dewey’s Selma Last Year (1966). Rather than creating his own alternative space, Dewey drew from his longstanding interest in context and site-specific performance to stage an intervention during the New York Film Festival that demanded his audience question their own spectatorship of the traumatic revolution that was the American civil rights movement.Less
Explores the 1966 New York Film Festival as the paradoxical zenith and culmination of the Expanded Cinema’s popularity within the “film art” community, and the subsequent turn away from established institutions of art and film. The first section describes Warhol’s creation of the “Factory” as an alternative space in which the line between media exhibition and media production is purposely blurred. Situates Warhol’s innovative use of videotape within Outer and Inner Space (1965) in the context of his earlier practice of film and audiotape recording, and contends that this cinematic double portrait of Edie Sedgwick exemplifes the site of the Factory itself an experiment in the the social and psychological ramifications of feedback in the televisual era. The second section explores a radically different work from the same moment was similarly invested in conjoining film and video in an exploration of social feedback: Ken Dewey’s Selma Last Year (1966). Rather than creating his own alternative space, Dewey drew from his longstanding interest in context and site-specific performance to stage an intervention during the New York Film Festival that demanded his audience question their own spectatorship of the traumatic revolution that was the American civil rights movement.
