By Gabrielle Jennings, Kate Mondloch
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Extra info for Abstract Video: The Moving Image in Contemporary Art
19 I have chosen to examine the issue of abstract image making in film and video in a transitional period during which video’s rise to prominence stimulated efforts to redefine both this new medium and film as art forms. My thesis is that a specific body of film and video works has explored the issue of abstraction as a means to define their respective media. This has been done by choosing the basic temporality of the moving image and the material basis of the image itself as sites for an epistemological inquiry into the viewing experience, thus exploring the perceptual transaction between spectator and text.
A further part of this argument is that there has been a reexamination of the original avant-garde impulse within the emerging discourse of video art; throughout the 1970s and 1980s the arguments of avant-garde film have been carried out and renewed within the differing practices and possibilities of this electronic medium. It is within the issue of abstraction that this argument bears particular interest and rewards. Through a reexamination of specific film and video projects, including installations, we can identify specific strategies and practices which reveal a poetics of abstraction emerging out of the artist’s effort to redefine these media as aesthetic discourse.
Most of the distributions were effected in 1969 and 1970, but The Second Investigation continued intermittently until February 1974, when what appears to be the final installment was published in a number of Swedish newspapers. Progressive public and commercial galleries and educational institutions in Canada played a leading role in The Second Investigation. Hosting the first exhibition in the series, the Art Gallery of Ontario, Toronto printed five thousand handbills marked with “Sensation. V.
Abstract Video: The Moving Image in Contemporary Art by Gabrielle Jennings, Kate Mondloch
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