|Location||Collection||Call number||Status||Date due|
|Sección General||CRITICA E||791.43 SCR --||Available|
Bibliografía e índices.
Contiene: Introduction, theorising the projected image / Tamara Trodd -- Rooms of our time, Lászlo Moholy-Nagy and the stillbirth of multi-media museums / Noam M. Elcott -- “Festival” and “museum” in modernist film histories / Maxa Zoller -- The matter of illusionism, Michael Snow’s screen-space / Kate Mondloch -- Projecting symptoms / Joanna Lowry -- “you’ve got me under spell’, the entranced spectator / Maria Walsh -- Screen eroticisms, exploring female desire in the work of Carolee Schneemann and Pipilotti Rist / Amelia Jones – Windows in the white cube / Andrew V. Uroskie -- Inside the film-machine, architecture and apparatus in British women’s film since the 1990’s / Tamara Trodd -- The projective shift between installation art and new media art, from distantiation to connectivity / Christine Ross.
Projected-image art occupies an increasingly important place in the contemporary art-world. But does the projected image have its own specificity, beyond the histories of experimental film and video on the one hand, and installation art on the other? What is a projected image, and what is the history of projected-image art? What are the specific forms of spectatorship which are encouraged by projected-omage art, and how do these present challenges to existing critical and theoretical frameworks? Is there a politics of projection?
These questions and others are explored in this thoughtful collection of nine essays by leading international scholars of film and projected-image art. Clearly structured in three sections - ‘Histories’, ‘Screen’, ‘Space’ - the book argues for recognition of the projected image as a distinctive category in contemporary art, which demands new critical and theoretical approaches. The contributors explore a range of interpretive perspectives, offering new insights into the work of artists including Michael Snow, Carolee Schneemann, Pipilotti Rist, Stan Douglas, Gillian Wearing, Tacita Dean, Jane and Louise Wilson, amongst others. The Introduction supplies a concise summary of the history of projected-image art and its interpretation, and there is a focus throughout the book on detailed analysis of individual artworks.
The breadth of historical material covered (encompassing developments from the late 1920s to the present) and the consistent referencing of canonical as well as newer works will ensure the book’s continuing appeal to studens and scholars alike of art history, film studies, fine art, and visual culture.
Contributors include: Noam M. Elcott, Amelia Jones, Joanna Lowry, Kate Mondloch, Christine Ross, Tamara Trodd, Andrew V. Uroskie, Maria Walsh and Maxa Zoller.
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