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Figure 75

Figure 75

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Since the late 1980s, the period during which the collection was built, the media arts moved from the margin to the centre of institutional exhibition practices, especially at important large- scale survey exhibitions such as the Venice Biennial and Documenta. As the collection grew, it paralleled activity in the public sphere; it shaped, and was shaped by, the developments of time- based art in institutional settings, as well as by the passionate choices of its founders. In many respects, it also affected the development of the market for video art, which still lagged behind institutional practices and, more importantly, artistic developments in the field. When the idea for this publication first arose, ‘ontribute insight to a poorly understood, still fair its impetus was based in part on a desire to y marginal medium. Both the collection and he works of art in it needed to be documented for their interrlated histories to be consolidated. As media art became more and more mainstream, yr sculpture, which are commonly collected and ex mportant to place media art, and the ideas work ippropriation art for instance, within the context of yet never as central as, for instance, painting hibited as art—no questions asked—it became ed out in Conceptualism, in Pop art, and in other artworks where similar ideas held sway n more traditional media. That is to say, in this vo ume, I attempt to enrich the history of time- yased art by placing it back into the mainstream of art where it has always belonged; as any visual rt practiced by artists for nearly 40 years, time-b incillary practice. ased art no longer needs to be treated as an contribute insight to a poorly understood, still fairly marginal medium. Both the collection and
Since the late 1980s, the period during which the collection was built, the media arts moved from the margin to the centre of institutional exhibition practices, especially at important large- scale survey exhibitions such as the Venice Biennial and Documenta. As the collection grew, it paralleled activity in the public sphere; it shaped, and was shaped by, the developments of time- based art in institutional settings, as well as by the passionate choices of its founders. In many respects, it also affected the development of the market for video art, which still lagged behind institutional practices and, more importantly, artistic developments in the field. When the idea for this publication first arose, ‘ontribute insight to a poorly understood, still fair its impetus was based in part on a desire to y marginal medium. Both the collection and he works of art in it needed to be documented for their interrlated histories to be consolidated. As media art became more and more mainstream, yr sculpture, which are commonly collected and ex mportant to place media art, and the ideas work ippropriation art for instance, within the context of yet never as central as, for instance, painting hibited as art—no questions asked—it became ed out in Conceptualism, in Pop art, and in other artworks where similar ideas held sway n more traditional media. That is to say, in this vo ume, I attempt to enrich the history of time- yased art by placing it back into the mainstream of art where it has always belonged; as any visual rt practiced by artists for nearly 40 years, time-b incillary practice. ased art no longer needs to be treated as an contribute insight to a poorly understood, still fairly marginal medium. Both the collection and
Yvonne Rainer, Hand Movie, 1968. 16mm black-and-white, 5:00 min. Courtesy the artist.
Yvonne Rainer, Hand Movie, 1968. 16mm black-and-white, 5:00 min. Courtesy the artist.
© Estate of Marcel Broodthaers. Courtesy Marian Goodman Gallery, New York.
© Estate of Marcel Broodthaers. Courtesy Marian Goodman Gallery, New York.
16mm black-and-white film, silent.
16mm black-and-white film, silent.
35mm film print, 3 silkscreened digital video disks, stainless steel, internally lubricated plastic, marble and sterling silver in acrylic vitrine, 3 hours 1:59 min.
35mm film print, 3 silkscreened digital video disks, stainless steel, internally lubricated plastic, marble and sterling silver in acrylic vitrine, 3 hours 1:59 min.
Carole Condé and Karl Beveridge, The Plague (detail) (2009). Photo: Courtesy the artists. EXHIBITION REVIEW: JILL GLESSING Ryerson University, Toronto
Carole Condé and Karl Beveridge, The Plague (detail) (2009). Photo: Courtesy the artists. EXHIBITION REVIEW: JILL GLESSING Ryerson University, Toronto
_ocating the Producers, Durational Approaches to Public Art and One Day Sculpture report on 2vent-based public art programs across several international but local contexts. In so doing they eveal the precise meaning in their seemingly cryptic titles, where sculpture is a verb, and the oroblem of location is in finding those who produce. Examples range from the year-long span of One Day Sculpture, arrayed across New Zealand, to the twelve years of Kunstplan Trekroner in a 1ew urban area east of Roskilde in Denmark. BOOK REVIEW: ANDREW STOOKE Milborne Port, UK
_ocating the Producers, Durational Approaches to Public Art and One Day Sculpture report on 2vent-based public art programs across several international but local contexts. In so doing they eveal the precise meaning in their seemingly cryptic titles, where sculpture is a verb, and the oroblem of location is in finding those who produce. Examples range from the year-long span of One Day Sculpture, arrayed across New Zealand, to the twelve years of Kunstplan Trekroner in a 1ew urban area east of Roskilde in Denmark. BOOK REVIEW: ANDREW STOOKE Milborne Port, UK
Scholarly articles in English and French on theory, history and criticism of film and media; book reviews; rare and archival research documents. Individuals, $35 (CAD) in Canada; $35 (US) in all other countries. Institutions, $45 (CAD) in Canada; $45 (US) in all other countries. Send payment to:
Scholarly articles in English and French on theory, history and criticism of film and media; book reviews; rare and archival research documents. Individuals, $35 (CAD) in Canada; $35 (US) in all other countries. Institutions, $45 (CAD) in Canada; $45 (US) in all other countries. Send payment to:
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HistoryPhilosophyAestheticsVisual StudiesArtFilm StudiesPhotographyDigital CinemaPhilosophy of FilmMetaphysics of Time
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