In a career that spanned five decades, most of them spent in San Francisco, Bruce Conner (1933–2008) produced a unique body of work that refused to be contained by medium or style. Whether making found-footage films, hallucinatory ink-blot graphics, enigmatic collages, or assemblages from castoffs, Conner took up genres as quickly as he abandoned them. His movements within San Francisco’s counter-cultural scenes were similarly free-wheeling; at home in beat poetry, punk music, and underground film circles, he never completely belonged to any of them. Bruce Conner belonged to Bruce Conner. Twice he announced his own death; during the last years of his life he produced a series of pseudonymous works after announcing his “retirement.” In this first book-length study of Conner’s enormously influential but insufficiently understood career, Kevin Hatch explores Conner’s work as well as his position on the geographical, cultural, and critical margins.
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A new reading of the work of a major American and international artist, well known for her depictions of the female body, of society's attitude to women and particularly for her pioneering work as a performance and video artist in the cause of feminism, in the context of artists' reactions to major world issues and a return of the historical genre in art today, underlining her unflagging commitment to the recording of history as it happens.
Published on the occasion of the eponymous exhibition at the Musée départemental d'art contemporain de Rochechouart in 2013.
The exhibition’s catalogue assembles the results of the worldwide research into surrealist films in images and text and presents the ways in which filmic surrealism has been diffused. The publication thus comes to grips with subjects that have thus far only marginally been dealt with and collects them in a compendium of filmic surrealism. In this way the visitors to the exhibition are offered further reading for enrichment and the professional academic public is provided with the stimulus for further fruitful activity.
Film and video create an illusory world, a reality elsewhere, and a material presence that both dramatizes and demystifies the magic trick of moving pictures. Beginning in the 1960s, artists have explored filmic and televisual phenomena in the controlled environments of galleries and museums, drawing on multiple antecedents in cinema, television, and the visual arts. This volume traces the lineage of moving-image installation through architecture, painting, sculpture, performance, expanded cinema, film history, and countercultural film and video from the 1960s, 1970s, and 1980s.
Price:Paperback: 26 USDHardcover: 80 USDEbook: 25.99 USD
Recently restored by the UCLA Film Archive, Kenneth Anger\'s difficult-to-see early films are finally collected here onto DVD, alongside optional fascinating commentary by Anger himself.
Stephanie Maxwell has been creating stunningly beautiful and original experimental animation for over twenty years. As a film artist who specializes in hand painting and engraving directly onto the surface of 35mm film stock, Maxwell employs a wide vari
Directed in 1927 by Germaine DULAC and scripted by Antonin Artaud, The Seashell and the Clergyman is generally considered to be the first Surrealist film: a key element of French cultural heritage. This box set is all the more welcome for the fact that th
The film is divided into five parts, which differ in the visual and musical structure of each other. The plot - it is about two women and their love for each other is of secondary importance.
A 3 disc set of select short, experimental, un-dependent and personal films from around the world that were featured in April, 2011 at Experiments in Cinema V6.3 film festival (see www.experimentsincinema.com for more information on this annual New Mexico film festival) is now available on EBAY. Note that all proceeds will be invested in ensuring the success of next year's festival. THANKS! to all the artists who donated their work to this promotional compilation - It is your generosity and support that keeps us going!
Since 1950 I have been keeping a film diary. I have been walking around with my Bolex and reacting to the immediate reality: situations, friends, New York, seasons of the year. On some days I shot ten frames, on others ten seconds, still on others ten minutes. Or I shot nothing. When one writes diaries, it's a retrospective process: you sit down, you look back at your day, and you write it all down.