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Before Projection: Video Sculpture 1974 - 1995 - Softcover

 
9783777430676: Before Projection: Video Sculpture 1974 - 1995

Inhaltsangabe

Before Projection: Video Sculpture 19741995 shines a spotlight on a body of work in the history of video art that has been largely overlooked since its inception. The exhibition explores connections between our current moment and the point at which video art was transformed dramatically by the entry of large-scale, cinematic installation into the gallery space. It presents a reevaluation of monitor-based sculpture since the 1970s and serves as a tightly focused survey of works that have been rarely seen in the last twenty years. The exhibition catalogue focuses on the period after very early experimentation in video and before video arts full institutional arrivalcoinciding with the wide availability of video projection equipmentin the gallery and museum alongside painting and sculpture. Proposing to examine what aesthetic claims these works might make in their own right, the exhibition aims to resituate monitor sculpture more fully into the narrative between early video and projection as well as assert its relevance for the development of sculpture over the course of the 1980s in general.Works by Dara Birnbaum, Ernst Caramelle, Takahiko Iimura, Shigeko Kubota, Mary Lucier, Muntadas, Tony Oursler, Nam June Paik, Friederike Pezold, Adrian Piper, Diana Thater, and Maria Vedder

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Über die Autorin bzw. den Autor

Henriette Huldisch is director of exhibitions and curator at the MIT List Visual Arts Center. She is the author, most recently, of An Inventory of Shimmers: Objects of Intimacy in Contemporary Art.

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Before Projection: Video Sculpture 1974 – 1995 shines a spotlight on a body of work in the history of video art that has been largely overlooked since its inception. Exploring the connections between our current moment and t he point at which video art was transformed dramatically with the entry of large - scale, cinematic installation into the gallery space . It presents a tightly focused survey of monitor - based sculpture made since the mid - 1970s.

The exhibition catalogue focuses on the period after very early experimentation in video and before video art’s full institutional arrival ― coinciding with the wide availability of video projection equipment ― in the gallery and museum alongside painting and sculpture. Proposing to e xamine what aesthetic claims these works might make in their own right, the exhibition aims to resituate monitor sculpture more fully into the narrative between early video and projection as well as assert its relevance for the development of sculpture ove r the course of the 1980s in general.

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