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Anthony McCall
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Anthony McCall
Charting the development of the studio practice of artist Anthony McCall (b. 1946), this publication features facsimile reproductions of pages from McCall's extensive archive of notebooks, which are supported by production scores and installation photographs. It was formed out of a series of discussions that took place over the last decade between McCall and the artists Graham Ellard and Stephen Johnstone.
Anthony McCall
Anthony McCall's Line Describing a Cone has long been a classic of American avant-garde cinema, but because it was most often screened in dusty Soho lofts in the past, the piece was little known to a wider audience. The inclusion of Line Describing a Cone,1973 in the Whitney Museum of American Art exhibition "Into the Light: the Projected Image in American Art, 1964-1977" has opened McCall's work to a great deal of interest both in America and abroad. While curators are only now beginning to mine the history of the projected image in art, McCall continues to be one of the most important of the Post-Minimalist artists to use projected film. This book includes a major essay by Branden Joseph, ...
Anthony McCall
None
Anthony McCall
In un ambiente oscurato e riempito di foschia, le proiezioni di Anthony McCall generano l'illusione delle tre dimensioni attraverso figure astratte che gradualmente si espandono, si contraggono e accarezzano lo spazio come pareti architettoniche effimere: membrane di solida luce provenienti dall'alto creano infatti spazi immateriali, visibili soltanto grazie ai movimenti della foschia. Le opere di Anthony McCall si muovono fra i linguaggi di scultura e cinema. Scultura perché le forme occupano uno spazio tridimensionale e come tali possono essere fruite solo aggirandole o attraversandole; cinema perché le forme e gli spazi sono costituiti da luce proiettata, che lentamente cambia la pr...
Anthony McCall
Anthony McCall (London 1946) is considered one of themain representatives of the avant-garde movementsin the visual arts and the cinema of the 1970s. Withhis work, McCall explores the most basic elementsof cinema: light and projection. His installations arepossessed of a breathtaking beauty as well as crystal-clear simplicity.His large light projections are at once space-filling,three-dimensional sculptures and ephemeral drawings.McCall’s work has inspired an entire generation ofartists who work with film and installations.After major presentations in leading museumsworldwide, EYE now presents McCall’s first exhibitionin the Netherlands. In this publication, McCall explainshis cinematic sculptures in an interview, and his work isplaced in both a historical and a contemporary context. 0Exhibition: EYE, Amsterdam, the Netherlands, (27.09-30.11.2014).
Anthony McCall
Since the early 1970s Anthony McCall has been working with projected light. His "solid-light" installations occupy a space between line-drawing, cinema, and sculpture: fundamentally graphic, they are realized through the mediums of film or digital projection and the effect created is that of large-scale, three-dimensional sculptures composed of shifting membranes of light. Viewing becomes an active process of moving around and through the projected object, exploring it from different points of view. Along with working drawings for the 'Vertical Works' shown at Ambika P3, 'Works on Paper' includes a the drawings from the last 40 years of McCall's career, and showcases key works such as Landscape for Fire (1972) and Five- Minute Drawing (1974). This publication is the definitive monograph on this body of work by Anthony McCall--Supplied by publisher.
Anthony McCall
Anthony McCall (born 1946) is a British-born New York based artist and was a key figure in the avant-garde London Film-makers Co-operative in the 1970s. His earliest films are documents of outdoor performances that were notable for their minimal use of the elements, most notably fire, in the work ?Landcsape For Fire? (1972) which will feature in the exhibition.0Works such as ?Line Describing a Cone?, are based on simple, animated line-drawings, projections which strikingly emphasize the sculptural qualities of a beam of light. In darkened, haze-filled rooms, the projections create an illusion of three-dimensional shapes, ellipses, waves and flat planes that gradually expand, contract or sweep through space. In these works, the artist sought to deconstruct cinema by reducing film to its principle components of time and light and removing the screen entirely as the prescribed surface for projection. The works also shift the relationship of the audience to film, as viewers become participants, their bodies intersecting and modifying the transitory forms.00Exhibition: Lismore Castle, Co. Waterford, Ireland (02.04.-15.10.2017).
Materiality
"Materiality has reappeared as a highly contested topic in recent art. Modernist criticism tended to privilege form over matter--considering material as the essentialized basis of medium specificity--and technically based approaches in art history reinforced connoisseurship through the science of artistic materials. But in order to engage critically with the meaning, for example, of hair in David Hammons's installations, milk in the work of Dieter Roth, or latex in the sculptures of Eva Hesse, we need a very different set of methodological tools. This anthology focuses on the moments when materials become willful actors and agents within artistic processes, entangling their audience in a web...
Argument
The book features three essays by McCall and Tyndall ('Sixteen working statements', Artist as businessman' and 'Against the numbers theory'), which deal with filmmaking, the politics of the image and the economic situation of artists. .
