By Maeve Connolly
Within the position of Artists’ Cinema, Maeve Connolly identifies a recurrent hindrance with website, area and cinema structure in movie and video works through artists, extending from the past due Nineteen Sixties to the current day. concentrating on advancements during the last decade, Connolly offers in-depth readings of chosen contemporary works by means of twenty-four assorted artists, starting from multi-screen projections to site-specific installations and feature-length motion pictures. She additionally explores altering buildings of exhibition and curation, tracing the flow of movie and video works inside of public paintings contexts, galleries, museums, biennial exhibitions and artwork gala's. delivering a bankruptcy at the position of public investment available in the market for artists’ movie and video, where of Artists’ Cinema will entice either curators and artists.
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Additional resources for The Place of Artists' Cinema: Space, Site, and Screen
Commenting in 2004 on the work of artists such as Liam Gillick, Philippe Parreno and Rirkrit Tiravanija, he states: The exhibition becomes one big film set (a ‘film without a camera’, Philippe Parreno puts it), a set in which we can mount our own sequences of meanings. Rirkrit Tiravanija always includes the words ‘lots of people’, indicating that they are an integral part of it all. 21 Nonetheless, it seems likely that curatorial approaches to artists’ cinema during the 1990s and 2000s, particularly within institutional contexts, were shaped by this broader engagement with event-based and relational art.
This exploration by filmmakers of production models that are particular to the visual arts has been welcomed by some commentators,33 but critiqued by others. 35 Just as filmmakers are sometimes compelled to take up the position of artist in the gallery (or ‘off-site’) to secure funding, artists are sometimes required to demonstrate the skills of film producers to effectively manage and resource their own projects. 36 While Rosler’s comments relate specifically to the biennial exhibition context, artists who are working within explicitly commercial (or ‘private’) contexts may also be under pressure to adapt to a more project-based model of production.
Also, although these organizations certainly raised the public profile of experimental film culture, they explicitly avoided the promotion, selection or even mediation of individual films. This is despite the fact that their overall rental income was often heavily dependent upon works by a small number of prominent filmmakers, such as Stan Brakhage. 41 Although organizations like the NYFC relied heavily on philanthropy in the early years, Thomas notes that the US co-operatives generally avoided seeking public subsidy, preferring to keep overheads low as a means of managing costs.
The Place of Artists' Cinema: Space, Site, and Screen by Maeve Connolly