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03480aam a2200445Ia 4500 001 FFBE64FCF83511E784964A6B97128E48 003 SILO 005 20180113013733 008 150909t20152015sz a b 000 0 eng d 020 $a 284066822X 020 $a 9782840668220 020 $a 9783037643884 020 $a 3037643889 035 $a (OCoLC)920869267 040 $a YDXCP $b eng $c YDXCP $d VVPCS $d DEBSZ $d OCLCQ $d BDX $d OCLCF $d JPG $d CIA $d OHX $d CAD $d UtOrBLW $d SILO 050 4 $a PN1993.5.A1 $b E94 2015 072 7 $a N $2 lcco 072 7 $a PN $2 lcco 245 00 $a Exhibiting the moving image : $b history revisited / $c François Bovier & Adeena May, eds. 264 1 $a Zurich : $b JRP Ringier ; $c [2015] 300 $a 157 pages : $b illustrations ; $c 21 cm. 490 1 $a Documents series ; $v 22 500 $a "Published with ECAL/University of Art and Design Lausanne"--Title page. 504 $a Includes bibliographical references. 505 00 $t Trailer time: cinematic expectations and contemporary art / $r Maeve Connolly. $t The moving image as seen at the end of the mechanical age / $r Julie Reiss -- $t Prospect in retrospect: the exhibition Prospect 71: projection / $r Maxa Zoller -- $t Moving panoramas: Jesper Just's digital magnascope / $r Giuliana Bruno -- $t Before the cinematic turn: video projection in the 1970s / $r Erika Balsom -- $t The medium is the eyeball massage / $r Kate Mondloch -- $t On 'GEFF' / $r Greg de Cuir, Jr. -- $t Cinema in the public space: poster films of the Empire Marketing Board / $r François Bovier -- $t Trailer time: cinematic expectations and contemporary art / $r Maeve Connolly. 520 $a Since the 1990s, a "cinematographic turn" has taken place in contemporary art, paralleled by the emergence of a "cinema of exhibition." This collection of new essays investigates the relationships between the "white cube" and the "black box," focusing mainly on the 1970s, a decade in which film practices and moving images were integrated into museums and art spaces. The authors analyze multiple modalities of presenting the moving image through historical case studies: the anatomy of video art, expanded cinema, artists' films and installations, and the moving image in the public sphere. Exploring examples from the 1930s to the present, these contributions address commercial, spectacular or advertising forms of moving images, artists' performative practices, installations in large museums, exhibitions devoted to projections and festivals of experimental films. 650 0 $a Film criticism. $0 http://id.loc.gov/authorities/subjects/sh85088039 650 0 $a Experimental films. $0 http://id.loc.gov/authorities/subjects/sh85046442 650 0 $a Projection art. $0 http://id.loc.gov/authorities/subjects/sh2002004251 650 0 $a Art $x Exhibition techniques. $0 http://id.loc.gov/authorities/subjects/sh87005073 650 7 $a Art $x Exhibition techniques. $2 fast $0 (OCoLC)fst00815237 650 7 $a Experimental films. $2 fast $0 (OCoLC)fst00918452 650 7 $a Film criticism. $2 fast $0 (OCoLC)fst00924259 650 7 $a Projection art. $2 fast $0 (OCoLC)fst01078833 700 1 $a Bovier, François. $0 http://id.loc.gov/authorities/names/nb2012029911 700 1 $a Mey, Adeena. $0 http://id.loc.gov/authorities/names/no2015119125 830 0 $a Documents (Zurich, Switzerland) ; $v 22. $0 http://id.loc.gov/authorities/names/no2008111066 941 $a 1 952 $l OVUX522 $d 20180116062329.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=FFBE64FCF83511E784964A6B97128E48Initiate Another SILO Locator Search