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Christian Marclay, The Clock. Clock on Charlie Rose. On BBC. Art + the Moving Image. Liberating Time. Avant-garde.
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Christian Marclay, The Clock Clock on Charlie Rose On BBC
Art + the Moving Image Liberating Time
Avant-garde Avant-garde (from French, "advance guard" or "vanguard"[1]) refers to people or works that are experimentalor innovative, particularly with respect to art, culture, and politics. Avant-garde represents a pushing of the boundaries of what is accepted as the norm or the status quo, primarily in the cultural realm. The notion of the existence of the avant-garde is considered by some to be a hallmark of modernism, as distinct from postmodernism. Many artists have aligned themselves with the avant-garde movement and still continue to do so, tracing a history from Dada through the Situationists to postmodern artists such as the Language poets around 1981.[2] The term also refers to the promotion of radical social reforms. It was this meaning that was evoked by theSaint SimonianOlinde Rodrigues in his essay, "L'artiste, le savant et l'industriel" (“The artist, the scientist and the industrialist”, 1825), which contains the first recorded use of "avant-garde" in its now-customary sense: there, Rodrigues calls on artists to "serve as [the people's] avant-garde", insisting that "the power of the arts is indeed the most immediate and fastest way" to social, political, and economic reform.[3]
Dada Cabaret Voltaire Ghosts Before Breakfast
Surrealism Seashell and the Clergyman
Robert Florey Life and death of a Hollywood extra (11 min., 1928)
Soviet Realism Man with a Movie Camera
Allan Kaprow, Happenings Happenings (Wiki)
Expanded Cinema 1960s Coined in the mid-1960s by US filmmaker Stan VanDerBeek, but with its origins in the experiments of early twentieth century avant-garde film and performance art, ‘Expanded Cinema’refers to film and video works that expand the traditional one-way relationship between audience and screen to incorporate the context they’re being watched in. In 1970, Gene Youngblood published a book on Expanded Cinema articulating the principles and possibilities of new media practices in the same terms: “A new expanded cinema is required for a new consciousness.”
The Labyrinth ProjectExpo 67 Montreal The Film The Site
Intermedia Intermedia was a concept employed in the mid-sixties by Fluxus artist Dick Higgins to describe the often confusing, inter-disciplinary activities that occur between genres that became prevalent in the 1960s.[1] Thus, the areas such as those between drawing and poetry, or between painting andtheatre could be described as intermedia. With repeated occurrences, these new genres between genres could develop their own names (e.g. visual poetry or performance art). Higgins described the tendency of the most interesting and best in the new art to cross the boundaries of recognized media or even to fuse the boundaries of art with media that had not previously been considered for art forms, including computers. "Part of the reason that Duchamp's objects are fascinating while Picasso's voice is fading is that the Duchamp pieces are truly between media, between sculpture and something else, while a Picasso is readily classifiable as a painted ornament. Similarly, by invading the land between collage and photography, the German John Heartfield produced the what are probably the greatest graphics of our century..." —Higgins, Intermedia, 1966)
Nam June Paik “As the collage technique replaced oil paint, the cathode ray tube will replace the canvas.”
Expanded Cinemas Now Film
Doug Aitken Migration Sleepwalkers Song
Tacita Dean Film Film
Bill Viola Five Angels of the Millennium
