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The Place of Artists' Cinema
Space, Site and Screen
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Price £30, $43
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ISBN 9781841502465
Paperback 240 pages
174x230mm
Published May 2009
Imprint: Intellect
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Chapter Titles     |      Reviews     |      Comments

In The Place of Artists’ Cinema, Maeve Connolly identifies a recurrent concern with site, space and cinema architecture in film and video works by artists, extending from the late 1960s to the present day. Focusing on developments over the past decade, Connolly provides in-depth readings of selected recent works by twenty-four different artists including Carlos Amorales, Gerard Byrne, Jeremy Deller, Stan Douglas, Tacita Dean, Pierre Huyghe, Aernout Mik, Tobias Putrih and Anne Tallentire, ranging from multi-screen projections to site-specific installations and feature-length films.          

The book also explores changing structures of exhibition and curation, tracing the circulation of film and video works within public art contexts, galleries, museums, biennial exhibitions and art fairs. Providing a chapter on the role of public funding in the market for artists’ film and video, The Place of Artists’ Cinema will appeal to both curators and artists.

 

To download a pdf of the review in Perspective click here (in French)

Chapter titles
Introduction: 'The Place of Artists' Cinema' - Page 9
Maeve Connolly
Chapter 1: 'Between Space, Site and Screen' - Page 15
Maeve Connolly
Chapter 2: 'The Place of the Market' - Page 37
Maeve Connolly
Chapter 3: 'Multi-screen Projections and Museum Spaces' - Page 61
Maeve Connolly
Chapter 4: 'Event-sites and Documentary Dislocations' - Page 109
Maeve Connolly
Chapter 5: 'Cine-material Screens and Structures' - Page 163
Maeve Connolly
Conclusion: 'Materials, Places and Social Relations' - Page 213
Maeve Connolly
Reviews
'Maeve Connolly is the first film scholar in any language to explicate in depth contemporary artists' insights on the cinema, new media, photography and cinephilia. [...] Connolly demonstrates the central placement of the cinema as the source of creative and conceptual inspiration for the media of the future. ' – Angela Dalle Vacche, Professor of Film Studies, Georgia Institute of Technology

'On picking up and reading Meave Connolly’s The Place of Artists’ Cinema I was immediately struck by two things. First, the scope and depth of the work as the concept of ‘artists’ cinema’ is tirelessly operationalised and consistently enlivened across five detailed, rather different and differentiating (but always cogent) substantive chapters. Second, Connolly’s passion, perhaps even advocacy, for the works she discusses comes through strongly and the reader is left with the distinct impression that while not simply a work of canonisation (a possibility or danger Connolly herself acknowledges early on in the text), this book is moved by a desire to praise rather than bury, and is therefore critical in an affirmative and productive sense. In other words (and as we shall see from our brief survey of the five substantive chapters in a moment), Connolly’s arguments force us to think of ‘artists’ cinema’ as a form or practice that raises interesting questions, for example, about the nature of ‘place’, about the ‘market’ or ‘post-Fordist capital’, about the notion of the ‘public space’, about the status and scope of ‘events’ and so on.' – Robert Porter, Variant 36

'‘The Place of Artists’ Cinema’s rigorous interdisciplinary inquiry into the conditions of production and exhibition associated with post-1990’s artists’ cinema, both inside and outside the institutional context of contemporary art, is a welcome and long overdue contribution to the extant literature.’ ' – Kate Mondloch, ‘Placing Artists’ Cinema’, Jump Cut 52, Summer 2010

'‘This is a timely work – one that formulates ideas about the flowering of film and moving image work that has taken place since the 1990s: something that is only now being reflected upon. As a contribution to this debate, Maeve Connolly’s book is a welcome and a critical one’.' – Mo White, The Art Book, Volume 17, Issue 2 May 2010

'‘[Connolly] pays particular attention to how social relations are structured within these spaces, and to the relationship that moving images within the gallery have to notions of place and site. [...] One of the most interesting chapters in the book focuses critical attention on attempts to make film and video legible within the discourse of art and therefore legible to the market.’ ' – Dan Kidner, LuxOnline, October 2009

'‘Focusing on developments since the mid 1990s, Connolly [...] examines the various ways in which contemporary art practitioners have claimed the narrative techniques and modes of production associated with cinema as a cultural form. She notes that the explicit commercialisation of film and television production over the past decade, especially within the UK context, is likely to have impelled certain practitioners towards the gallery. [...] Thus The Place of Artists’ Cinema [...] opens up a new set of questions about cinema and the place of artists within the public sphere.’ ' – Bethsheba Achitsa, Artmatters.info: Flaunting Arts and Culture in Africa, September 2009

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