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2 produkter
2 produkter
Häftad, Engelska, 2011
272 kr
Skickas inom 5-8 vardagar
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? 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.
Inbunden, Engelska, 2025
1 227 kr
Skickas inom 5-8 vardagar
Counter-realism: Art and subjectivity in contemporary capitalism is an ambitious and original study of key works of film and video art made since 2008 by leading contemporary artists, including William Kentridge, Amalia Ulman, Melanie Gilligan, Lizzie Fitch/Ryan Trecartin and Elizabeth Price. It argues their work should be understood as a reconfigured form of ‘realism’, expressing economic forces and political pressures across contexts ranging from post-apartheid South Africa, through austerity-era Spain, to contemporary Britain and North America. Supported by original artist interviews and detailed visual analysis of individual works of art, as well as a wide-ranging research base, which synthesises arguments from a variety of disciplines including art history, literary, film and political studies, the book is clearly written, and makes legible the ways in which some of the most vivid and compelling works of contemporary moving-image art engage with historical and contemporary political debates.