The Place of Artists' Cinema , livre ebook

Intellect Books - Connolly Maeve

Découvre YouScribe en t'inscrivant gratuitement

Je m'inscris

Obtenez un accès à la bibliothèque pour le consulter en ligne
En savoir plus

218 pages

English

Vous pourrez modifier la taille du texte de cet ouvrage

Obtenez un accès à la bibliothèque pour le consulter en ligne
En savoir plus

A propos
Informations
Extrait

Description

In The Place of Artists’ Cinema, Maeve Connolly identifies a recurrent concern with site, space and cinema architecture in film and video works by artists, extending from the late 1960s to the present day. Focusing on developments over the past decade, Connolly provides in-depth readings of selected recent works by twenty-four different artists, ranging from multi-screen projections to site-specific installations and feature-length films. She also explores changing structures of exhibition and curation, tracing the circulation of film and video works within public art contexts, galleries, museums, biennial exhibitions and art fairs. Providing a chapter on the role of public funding in the market for artists’ film and video, The Place of Artists’ Cinema will appeal to both curators and artists.

Sujets

Arts visuels

ART

General

Installation art

General officer

Mixed Media

Informations

Publié par	Intellect Books
Date de parution	05 septembre 2009
Nombre de lectures	0
EAN13	9781841503295
Langue	English

Informations légales : prix de location à la page 0,1600€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

The Place of Artists Cinema
Space, Site and Screen
The Place of Artists Cinema
Space, Site and Screen
Maeve Connolly
First published in the UK in 2009 by Intellect Books, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2009 by Intellect Books, The University of Chicago Press, 1427 E. 60th Street, Chicago, IL 60637, USA
Copyright 2009 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, withoutwritten permission.
A catalogue record for this book is available from the British Library.
Cover image: Tobias Putrih Venetian, Atmospheric (2007). Courtesy of the artist and Max Protetch Gallery, New York. Photograph by Michele Lamann
Cover designer: Holly Rose Copy-editor: Heather Owen Typesetting: Mac Style, Beverley, E. Yorkshire
ISBN 978-1-84150-246-5 EISBN 978-1-84150-329-5
Printed and bound by Gutenberg Press, Malta.
Contents
Acknowledgements
Introduction: The Place of Artists Cinema
Chapter 1 Between Space, Site and Screen
Chapter 2 The Place of the Market
Chapter 3 Multi-screen Projections and Museum Spaces
Chapter 4 Event-sites and Documentary Dislocations
Chapter 5 Cine-material Screens and Structures
Conclusion: Materials, Places and Social Relations
Notes
References
Index
Acknowledgements
This book incorporates substantially revised versions of numerous journal articles, reviews and conference papers, listed below, and I am particularly grateful to fellow members of the Society for Cinema and Media Studies (SCMS) for questions and comments that directly informed the development of my research. Sections of Chapter 1 appeared in an article published as Abstraction and Dislocation in Recent Works by Gerard Byrne , CIRCA 113 (Autumn 2005), 31-42. Chapter 2 draws upon my paper Biennials and Blockbusters: The Peripheral Spaces of Artist s Film and Video , delivered at SCMS, Vancouver 2006 and incorporates material from an exhibition review, Venice and the Moving Image , Afterimage 33.1 (July 2005), 10-11. Chapter 3 includes ideas explored in The Doubled Space of Willie Doherty s Re-Run , Filmwaves 23, (Winter 2004), 8-10 as well as material previously presented at Screen Studies 2007 in Glasgow and subsequently published as Of Other Worlds: Nature and the Supernatural in the Moving Image Installations of Jaki Irvine , Screen 49.2 (Summer 2008), 203-208, while other material was previous published as Nomads, Tourists and Territories: Manifesta and the Basque Country , Afterimage: Journal of Media and Cultural Criticism , 32.3 (November/December 2004), 8-9. Chapter 4 was informed by the experience of researching The Necessity of Being Lost , Desperate Optimists et al, Made in Liverpool 2006: Beneath the Skin of the City , (Liverpool: Liverpool Biennial, 2007). Chapter 5 draws upon ideas explored in my paper on Imaginary Cinemas: The Architecture of the Movie Theatre in Artists Film and Video at SCMS Philadelphia in 2008 and also includes material from several earlier publications; Emporium of the Senses: Spectatorship and Aesthetics at the 26th S o Paulo Bienal , Third Text 19. 4 (July 2005), 399-409; Imaginary Spaces, Activist Practices in Jesse Jones, 12 Angry Films , (Dublin: Fire Station Artists Studios, 2007), 17-23; Cinema Spaces and Structures at the 52nd Venice Biennale , CIRCA 121, (Autumn 2007), 106-109.
I was fortunate to receive funding from D n Laoghaire Institute of Art, Design and Technology (IADT), Dublin, for numerous research visits over the past five years. Vital financial assistance was also provided by the Irish Arts Council/An Chomhairle Eala on in the form of a Bursary awarded in 2006. Sincere thanks are due to the many artists, curators, gallerists, and others, who provided assistance with documentation and production details during the research process, including Carlos Amorales, Gerard Byrne, Benjamin Cook, Mary Cremin, Sarah Glennie, Sr. Carmel Hartnett, Laura Horelli, Jaki Irvine, Jesse Jones, Bea McMahon, Anne Tallentire and Georgie Thompson. I am also indebted to Pip Chodorov, Angela Dalle Vacche, Vivienne Dick, Luke Gibbons, Tessa Giblin, Nicky Gogan, Jenny Haughton, Finola Jones, Julia Knight, Declan Long, Caoimh n Mac Giolla L ith, Francis McKee, Christine Molloy and Joe Lawlor, Sarah Neely, Diane Negra, Volker Pantenburg, Sarah Pierce, Paul Rowley, Orla Ryan, Sarah Smith, Peter Thomas and Mick Wilson. Many other friends and colleagues provided much-needed support and advice during the writing process, including Pat Brereton, Valerie Connor, Michelle Deignan, Liam Donnelly, Georgina Jackson, Stephanie McBride, Martin McCabe, Carol McGuire, Niamh O Malley and Stephanie Rains and I am especially grateful to Anna Colford, Liam Doona, Paula Gilligan, Sinead Hogan, Linda King, Sean Larkin, Sherra Murphy, Amanda Ralph, Elaine Sisson and Donald Taylor Black, as well as my students on the MA in Visual Arts Practices (MAVIS). I also want to thank Lucy Reynolds for her enthusiasm, rigour and insight while editing the manuscript and, finally, Angela Detanico, Rafael Lain and Dennis McNulty, for encouraging me to persist with this project.
Introduction: The Place of Artists Cinema
Defining Artists Cinema
The term artists cinema has begun to recur, amongst the various publications, film programmes and exhibitions that explore and chart the shifting relationship between art practice and film-making. Either alongside or in place of artists film and video , some of the most prominent examples of this usage can be found in curatorial projects developed for the Frieze Art Fair and the International Short Film Festival Oberhausen in recent years. Ian White, coordinator of The Artists Cinema at Frieze in 2005 and 2006, and curator of the Kinomuseum programme at Oberhausen in 2007, has theorized artists cinema through reference to the notion of a differentiated form, which does not fit easily into either industrialized cinema or the museum. 1 My use of the term is somewhat different, however, because I am specifically interested in the sense of ownership implicit in the notion of an artists cinema and in the claims that are made by artists upon, and for, cinema. Focusing on developments since the mid 1990s, this book examines the various ways in which contemporary art practitioners have claimed the narrative techniques and modes of production associated with cinema, as well as the history, memory and experience of cinema as a cultural form. Whilst these claims are sometimes asserted within territory that has historically belonged to cinema , most obviously when artists direct films for theatrical exhibition, my focus is primarily on their articulation within the spaces, sites and contexts of contemporary art. My interest also lies in the various needs that might be served by these claims upon and for cinema, particularly within the context of processes of place-making .
My understanding of artists cinema as a series of claims made within the sphere of contemporary art does not resolve the problem of definition. Instead, it opens up a new set of questions about cinema and what is meant by the cinematic . 2 Any attempt to define an artwork as cinematic necessarily invokes pre-existing notions and expectations about cinema, which are likely to be historically as well as culturally specific. Chrissie Iles has suggested that, during the 1990s, artists working with the moving image were often particularly drawn towards the citation or appropriation of classical Hollywood film because of a nostalgic cinephilia linked to fears about the decline of cinema as a cultural form. 3 By contrast, many of the contributors to Ghosting: The Role of the Archive within Contemporary Artist s Film and Video highlight the ethnographic and archival currents that run through artists cinema, from multi-screen gallery installations to site-specific public art commissions. 4 These currents articulate a fascination with the film archive as a repository for various kinds of cinematic memory, beyond that circumscribed by Hollywood.
In fact it is possible to identify many different configurations of the cinematic in contemporary art practice. Even in the relatively small selection of works discussed in Chapters 3 , 4 and 5 it is possible to find references, and sometimes even remakes of, early actualities, political documentary films and postclassical European cinema. Just as cinema is no longer predominantly figured within contemporary art practice in terms of classical Hollywood, it is possible to identify a shift away from the radical, often psychoanalytically inflected, critiques of spectatorship that once underpinned artists film and video. 5 Instead, it is now possible to identify a greater emphasis on the collective and social dimensions of reception, to the extent that cinema may even be understood specifically for its historical associations with an ideal public sphere. In other words, cinema history (rather than film theory) seems to hold an appeal for some practitioners because it may offer models or prototypes for collectivity. This reinvention of the cinematic within contemporary art practice is undoubtedly indebted to film and media scholarship, particularly in relation to the public sphere of early cinema 6 , but it cannot be fully understood without reference to a range of other developments, which shape not only the nature but also the scale and ambition of artists claims upon cinema in recent years.
Commentators within the domains of both art criticism and film studies have noted a new emphasis on the moving image within museums, and galleries since the mid- to late 1990s. 7 The enhanced visibility of artists cinema during this period could be partly explained by increased access to production, post-production and projection equipment amongst artists and art institutions, but