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Art --- assemblages [sculpture] --- installations [visual works] --- multimedia works --- photography [process] --- video art --- Fluxus --- Paik, Nam June --- Nam June Paik Art Center [Yongin]
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Mainframe Experimentalism challenges the conventional wisdom that the digital arts arose out of Silicon Valley’s technological revolutions in the 1970s. In fact, in the 1960s, a diverse array of artists, musicians, poets, writers, and filmmakers around the world were engaging with mainframe and mini-computers to create innovative new artworks that contradict the stereotypes of "computer art." Juxtaposing the original works alongside scholarly contributions by well-established and emerging scholars from several disciplines, Mainframe Experimentalism demonstrates that the radical and experimental aesthetics and political and cultural engagements of early digital art stand as precursors for the mobility among technological platforms, artistic forms, and social sites that has become commonplace today.
Arts, Modern --- Computer art. --- Art and computers. --- alison knowles. --- art and media. --- art criticism. --- art history. --- art. --- computer art criticism. --- computer art history. --- computer art. --- computer artists. --- computers and art. --- computers. --- digital art. --- digital artist. --- digital culture. --- digital media. --- digital scholarship. --- digital studies. --- early computer art. --- film arts. --- information aesthetics. --- media studies. --- modern art. --- nam june paik. --- stuttgart school. --- visual research. --- visual rhetoric. --- visual studies.
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Today, the moving image is ubiquitous in global contemporary art. The first book to tell the story of the postwar expanded cinema that inspired this omnipresence, Between the Black Box and the White Cube travels back to the 1950s and 1960s, when the rise of television caused movie theaters to lose their monopoly over the moving image, leading cinema to be installed directly alongside other forms of modern art. Explaining that the postwar expanded cinema was a response to both developments, Andrew V. Uroskie argues that, rather than a formal or technological innovation, the key change for artists involved a displacement of the moving image from the familiarity of the cinematic theater to original spaces and contexts. He shows how newly available, inexpensive film and video technology enabled artists such as Nam June Paik, Robert Whitman, Stan VanDerBeek, Robert Breer, and especially Andy Warhol to become filmmakers. Through their efforts to explore a fresh way of experiencing the moving image, these artists sought to reimagine the nature and possibilities of art in a post-cinematic age and helped to develop a novel space between the "black box" of the movie theater and the "white cube" of the art gallery. Packed with over one hundred illustrations, Between the Black Box and the White Cube is a compelling look at a seminal moment in the cultural life of the moving image and its emergence in contemporary art.
Art and motion pictures. --- Art, Modern. --- Art, Modern --- Affichistes (Group of artists) --- Fluxus (Group of artists) --- Modernism (Art) --- Schule der Neuen Prächtigkeit (Group of artists) --- Zero (Group of artists) --- Modern art --- Nieuwe Ploeg (Group of artists) --- Art and moving-pictures --- Motion pictures and art --- Motion pictures --- cinema, cinematic, film, postwar, wartime, art, artistic, global, international, contemporary, 1950s, 1960s, movies, studies, college, university, textbook, academic, scholarly, research, theatres, modern, analysis, critical, critique, technology, technological, innovation, theater, video, nam june paik, robert whitman, stan vanderbeek, breer, director, filmmaker.
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