(Ebook PDF) The Cinematic Whitechapel Documents of Contemporary Art 1st edition by David Campany 0262532883 9780262532884 Full chapter
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ISBN 10: 0262532883
ISBN 13: 978-0262532884
Author: David Campany
The cinematic has been a springboard for the work of many influential artists, including Victor Burgin, Philip-Lorca diCorcia, Stan Douglas, Nan Goldin, Douglas Gordon, Cindy Sherman, and Jeff Wall, among others. Much recent cinema, meanwhile, is rich with references to contemporary photography. Video art has taken a photographic turn into pensive slowness; photography now has at its disposal the budgets and scale of cinema. This addition to Whitechapel’s Documents of Contemporary Art series surveys the rich history of creative interaction between the moving and the still photograph, tracing their ever-changing relationship since early modernism.
Still photography—cinema’s ghostly parent—was eclipsed by the medium of film, but also set free. The rise of cinema obliged photography to make a virtue of its own stillness. Film, on the other hand, envied the simplicity, the lightness, and the precision of photography. Russian Constructivist filmmakers considered avant-garde cinema as a sequence of graphic “shots”; their Bauhaus, Constructivist and Futurist photographer contemporaries assembled photographs into a form of cinema on the page. In response to the rise of popular cinema, Henri Cartier-Bresson exalted the “decisive moment” of the still photograph. In the 1950s, reportage photography began to explore the possibility of snatching filmic fragments. Since the 1960s, conceptual and postconceptual artists have explored the narrative enigmas of the found film still. The Cinematic assembles key writings by artists and theorists from the 1920s on—including László Moholy-Nagy, Pier Paolo Pasolini, Victor Burgin, Jeff Wall, and Catherine David—documenting the photography-film dialogue that has enriched both media.
The Cinematic Whitechapel Documents of Contemporary Art 1st Table of contents:
Chapter 1: The Intersection of Cinema and Contemporary Art
1.1 Defining Cinematic Art in the Modern Context
1.2 Historical Developments in Film and Visual Art
1.3 The Influence of Cinema on Contemporary Art Movements
1.4 Case Studies of Cinematic Art Exhibitions
Chapter 2: The Whitechapel Gallery’s Role in Art and Film
2.1 History of the Whitechapel Gallery
2.2 Whitechapel’s Curatorial Approach to Cinematic Works
2.3 Partnerships Between Artists and Filmmakers
2.4 Major Cinematic Art Exhibitions at Whitechapel
Chapter 3: Artists Shaping the Cinematic Discourse
3.1 Profiles of Key Artists in Cinematic Art
3.2 Interviews with Contemporary Cinematic Artists
3.3 Experimental Filmmakers in the Gallery Space
3.4 The Concept of Narrative in Visual Art
Chapter 4: Curatorial Practices and Exhibitions
4.1 Curating Cinematic Works in a Gallery Context
4.2 Themes Explored in Cinematic Art Exhibitions
4.3 The Reception of Cinematic Art by the Public
4.4 Future Directions in Curating Cinematic Art
Chapter 5: Technology and Cinematic Innovation
5.1 The Role of Technology in Shaping Cinematic Art
5.2 Digital Media and Film in Contemporary Exhibitions
5.3 New Media Art and the Changing Landscape of Cinema
5.4 The Future of Immersive Cinematic Experiences in Galleries
Chapter 6: Political and Social Dimensions of Cinematic Art
6.1 The Politics of Film and Art in the 21st Century
6.2 Cinema as a Medium for Social Commentary
6.3 Representation and Identity in Cinematic Art
6.4 The Impact of Globalization on Cinematic Art Practices
Chapter 7: The Future of Cinematic Art in Museums and Galleries
7.1 Emerging Trends in Cinematic Art Exhibitions
7.2 The Role of New Media and Interactive Art
7.3 The Future of Whitechapel and Cinematic Art Movements
7.4 Challenges and Opportunities in Curating Cinematic Art
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