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Tony Conrad. Video - und darüber hinaus

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ISBN: 9783034320375 Year: Pages: 446 DOI: 10.3726/978-3-0351-0887-3 Language: German
Publisher: Peter Lang International Academic Publishing Group Grant: Swiss National Science Foundation (SNSF) - OAPEN-CH - 163545
Subject: Arts in general
Added to DOAB on : 2015-11-06 11:01:29
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Abstract

Tony Conrad (b. 1940) has been a well-known American artist for more than 50 years. Celebrated as a musician, filmmaker, video and performance artist, he achieved his breakthrough in 1966 with the experimental film The Flicker. In addition to his film work (including the so called Yellow Movies), his violin performances have also achieved broad recognition. This monograph focuses on about 70 video works produced by the artist since 1977, which previously have not been systematically studied. Beginning from Conrad’s earlier rather materialistic approach, in A videographic view of the artist’s vita the text follows the artists shift from experimental film to a more image-driven videographic approach. The chapter Last call for video comments on Tony Conrad influential interaction with the Buffalo-based group of appropriation artists. Then Video as critique of television interrogates the interplay between (video) art and society as a reflection of the telematic culture of the 1980s. The last chapter, Video in tension with music, returns to the beginning of the artist’s career and comments on Tony Conrad’s identity as a musician.

Framing French Culture

Authors: --- ---
ISBN: 9781922064875 Year: Pages: 291 DOI: 10.20851/framing-french Language: English
Publisher: University of Adelaide Press
Subject: Social Sciences --- Languages and Literatures --- Performing Arts
Added to DOAB on : 2015-09-08 04:26:04
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Throughout this book, the concept of framing is used to look at art, photography, scientific drawings and cinema as visually constituted, spatially bounded productions. The way these genres relate to that which exists beyond the frame, by means of plastic, chemically transposed, pencil-sketched or moving images allows us to decipher the particular language of the visual and at the same time circumscribe the dialectic between presence and absence that is proper to all visual media. Yet, these kinds of re-framing owe their existence to the ruptures and upheavals that marked the demise of certain discursive systems in the past, announcing the emergence of others that were in turn overturned.

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