Between the black box and the white cube : expanded cinema and postwar art / Andrew V. Uroskie.

By:

Uroskie, Andrew V

Material type: Text

TextPublication details: Chicago ; London : University of Chicago Press, 2014.Description: x, 273 pages : illustrations ; 25 cmISBN:

0226842991 (pbk. : alk. paper)
9780226842998 (pbk. : alk. paper)

Subject(s):

DDC classification:

791.43 URO

Contents:

Introduction: from medium to site -- Rhetorics of expansion -- Leaving the movie theater -- Moving images in the gallery -- Cinema on stage -- The festival, the factory, and feedback -- Epilogue: the homelessness of the moving image.

Review: The first book to tell the story of the postwar expanded cinema that would inspire the now ubiquitous presence of the moving image in contemporary art. In the 1950s and 1960s, the rise of television caused movie theaters to lose their monopoly over the moving image. Andrw V. Uroskie argues that it was this cultural displacement, rather than any formal or technological innovation, that lay at the origins of the expanded cinema.--Back cover.

Holdings
Item type	Current library	Call number	Copy number	Status	Date due	Barcode
Standard Loan	LSAD Library Main Collection	791.43 URO (Browse shelf(Opens below))	1	Available		39002100561845

Enhanced descriptions from Syndetics:

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.

Includes index.

Includes bibliographical references (pages 239-258) and index.

The first book to tell the story of the postwar expanded cinema that would inspire the now ubiquitous presence of the moving image in contemporary art. In the 1950s and 1960s, the rise of television caused movie theaters to lose their monopoly over the moving image. Andrw V. Uroskie argues that it was this cultural displacement, rather than any formal or technological innovation, that lay at the origins of the expanded cinema.--Back cover.

Table of contents provided by Syndetics

Acknowledgments (p. ix)
Introduction: From Medium to Site (p. 1)
1 Rhetorics of Expansion (p. 17)
2 Leaving the Movie Theater (p. 53)
3 Moving Images in the Gallery (p. 83)
4 Cinema on Stage (p. 131)
5 The Festival, the Factory, and Feedback (p. 171)
Epilogue: The Homelessness of the Moving Image (p. 233)
Notes (p. 239)
Illustration Credits (p. 259)
Index (p. 261)

Author notes provided by Syndetics

Andrew V. Uroskie is associate professor and graduate director of the MA/PhD Graduate Program in Art History and Criticism at Stony Brook University, SUNY.