A History of Artists' Film and Video in Britain, 1897-2004 David Curtis,
Publisher: British Film Institute
ISBN: 1844570967
DDC: 791.43657
Edition: Paperback; 2007-01-01
Summary:
In recent years the use of film and video by British artists has come
to widespread public attention. Jeremy Deller, Douglas Gordon, Steve
McQueen and Gillian Wearing all won the Turner Prize (in 2004, 1996,
1999 and 1997, respectively) for work made on video. This
fin-de-siécle explosion of activity represents the culmination of a
long history of work by less well-known artists and experimental
filmmakers. Ever since the invention of film in the 1890s, artists
have been attracted to the possibilities of working with moving
images, whether in pursuit of visual poetry, the exploration of the
art form's technical challenges, the hope of political impact, or the
desire to reinvigorate such time-honored subjects as portraiture and
landscape. Their work represents an alternative history to that of
commercial cinema in Britain--a tradition that has been only
intermittently written about until now. This major new book is the
first comprehensive history of artists' film and video in Britain.
Structured in two parts ('Institutions' and 'Artists and Movements'),
it considers the work of some 300 artists, including Kenneth
Macpherson, Basil Wright, Len Lye, Humphrey Jennings, Margaret Tait,
Jeff Keen, Carolee Schneemann, Yoko Ono, Malcolm Le Grice, Peter
Gidal, William Raban, Chris Welsby, David Hall, Tamara Krikorian,
Sally Potter, Guy Sherwin, Lis Rhodes, Derek Jarman, David Larcher,
Steve Dwoskin, James Scott, Peter Wollen and Laura Mulvey, Peter
Greenaway, Patrick Keiller, John Smith, Andrew Stones, Jaki Irvine,
Tracy Emin, Dryden Goodwin, and Stephanie Smith and Ed
Stewart.Written by the leading authority in the field, A History of
Artists' Film and Video in Britain, 1897-2004 brings to light the
range and diversity of British artists' work in these mediums as well
as the artist-run organizations that have supported the art form's
development. In so doing it greatly enlarges the scope of any
understanding of "British cinema" and demonstrates the crucial
importance of the moving image to British art history.
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