Our third and final installment of this three-part series devoted to Gene Youngblood’s 1970 book Expanded Cinema explores the outermost reaches of technological innovation spanning the late ‘60s to early ‘70s, highlighting creative connectivity through exceptional investigations of the cathode ray tube and other far-out forms of aesthetic-synesthetic interactivity.
Art theory has always had a major component in writing, or the illustration of the artists’ own ideas around their trajectory and working methods. To be more specific, writing has been a way for artists to ponder on their own activity, to identify certain trends they felt close to, to articulate a reflection on a given medium and challenge preconceived ideas.
06.07.17 + 07.07.17 | Brett Kashmere [plus films by Nathaniel Dorsky + Robert Breer + Nam June Paik + Lillian Schwartz + Takashi Ito + Yvonne Rainer + Will Hindle]
This symposium will expand the defining attributes of Fluxus film by addressing the problematic role of documentation within Fluxus practices, the documentation of performances as material film objects and the performativity of media, and the politics of presence in Fluxus film and performance. Includes screening of film and video works by Wolf Vostell, Eric Andersen, Nam June Paik, Ludwig Schönherr, Paul Sharits, and Carolee Schneemann, among others.
Dates:
Friday, May 5, 2017 (All day) to Saturday, May 6, 2017 (All day)
“The first book to consider video as an art form, was influential in establishing the field of media arts. In the book he argues that a new, expanded cinema is required for a new consciousness. He describes various types of filmmaking utilising new technology, including film special effects, computer art, video art, multi-media environments and holography.” (Wikipedia)
How do works of art endure over time in the face of aging materials and changing interpretations of their meaning? How do decay, technological obsolescence, and the blending of old and new media affect what an artwork is and can become? And how can changeable artworks encourage us to rethink our assumptions of art as fixed and static? Revisions is a unique exploration of all of these questions.
Today, the moving image is ubiquitous in global contemporary art. The first book to tell the story of the postwar expanded cinema that inspired this omnipresence, Between the Black Box and the White Cube travels back to the 1950s and 1960s, when the rise of television caused movie theaters to lose their monopoly over the moving image, leading cinema to be installed directly alongside other forms of modern art.
