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On the Edge of America
"The past quarter century has witnessed the emergence of a scholarly appreciation of American art in California. Yet assessments of the early modern (pre-1950) have been haphazard. Now in one bold volume, these scholars have remedied that deficiency. Thanks to the rich essays of this wonderful book, the art history of California--and the nation!--is graced with further light."--Dr. Kevin Starr, State Librarian of California "The authors of these essays illuminate a diverse and compelling history, one in which what happened at the geographic edges sheds new light on the European points of original. A lively and valuable contribution, not just to regional history, but to the making and transmi...
Moving Innovation
A behind-the-scenes history of computer graphics, featuring a cast of math nerds, avant-garde artists, cold warriors, hippies, video game players, and studio executives. Computer graphics (or CG) has changed the way we experience the art of moving images. Computer graphics is the difference between Steamboat Willie and Buzz Lightyear, between ping pong and PONG. It began in 1963 when an MIT graduate student named Ivan Sutherland created Sketchpad, the first true computer animation program. Sutherland noted: “Since motion can be put into Sketchpad drawings, it might be exciting to try making cartoons.” This book, the first full-length history of CG, shows us how Sutherland's seemingly offhand idea grew into a multibillion dollar industry. In Moving Innovation, Tom Sito—himself an animator and industry insider for more than thirty years—describes the evolution of CG. His story features a memorable cast of characters—math nerds, avant-garde artists, cold warriors, hippies, video game enthusiasts, and studio executives: disparate types united by a common vision. Sito shows us how fifty years of work by this motley crew made movies like Toy Story and Avatar possible.
Animation: A World History
A continuation of 1994’s groundbreaking Cartoons, Giannalberto Bendazzi’s Animation: A World History is the largest, deepest, most comprehensive text of its kind, based on the idea that animation is an art form that deserves its own place in scholarship. Bendazzi delves beyond just Disney, offering readers glimpses into the animation of Russia, Africa, Latin America, and other often-neglected areas and introducing over fifty previously undiscovered artists. Full of first-hand, never before investigated, and elsewhere unavailable information, Animation: A World History encompasses the history of animation production on every continent over the span of three centuries. Volume II delves int...
Beyond Spatial Montage
Beyond Spatial Montage: Windowing, or the Cinematic Displacement of Time, Motion, and Space offers an extended discussion of the morphology and structure of compositing, graphic juxtapositions, and montage employed in motion pictures. Drawing from the history of avant-garde and commercial cinema, as well as studio-based research, here media artist and theorist Michael Betancourt critiques cinematic realism and spatial montage in motion pictures. This new taxonomic framework for conceptualizing linkages between media art and narrative cinema opens new areas of experimentation for today’s film editors, motion designers, and other media artists.
Mudra
Appearing for the first time in paperback and illustrated with line drawings, diagrams, and 26 half-tone plates, this study of the iconographic aspect of Japanese Buddhist sculpture surveys the significance of eight principal and six secondary hand gestures (mudra), in addition to the postures (asana), such as the "lotus," and the symbolic attributes. A pictorial index helps the reader in identifying the gestures.
Making Images Move
Making Images Move reveals a new history of cinema by uncovering its connections to other media and art forms. In this richly illustrated volume, Gregory Zinman explores how moving-image artists who worked in experimental film pushed the medium toward abstraction through a number of unconventional filmmaking practices, including painting and scratching directly on the film strip; deteriorating film with water, dirt, and bleach; and applying materials such as paper and glue. This book provides a comprehensive history of this tradition of “handmade cinema” from the early twentieth century to the present, opening up new conversations about the production, meaning, and significance of the moving image. From painted film to kinetic art, and from psychedelic light shows to video synthesis, Gregory Zinman recovers the range of forms, tools, and intentions that make up cinema’s shadow history, deepening awareness of the intersection of art and media in the twentieth century, and anticipating what is to come.
Sounding the Gallery
Becoming commercially available in the mid 1960s, video quickly became integral to the intense experimentalism of New York City's music and art scenes. The medium was able to record image and sound at the same time, which allowed composers to visualize their music and artists to sound their images. But as well as creating unprecedented forms of audiovisuality, video work also producedinteractive spaces that questioned conventional habits of music and art consumption. This book explores the first decade of creative video work, focusing on the ways in which video technology was used to dissolve the boundaries between art and music.
Abstract Video
Offering historical and theoretical positions from a variety of art historians, artists, curators, and writers, this groundbreaking collection is the first substantive sourcebook on abstraction in moving-image media. With a particular focus on art since 2000, Abstract Video addresses a longer history of experimentation in video, net art, installation, new media, expanded cinema, visual music, and experimental film. Editor Gabrielle Jennings—a video artist herself—reveals as never before how works of abstract video are not merely, as the renowned curator Kirk Varnedoe once put it, "pictures of nothing," but rather amorphous, ungovernable spaces that encourage contemplation and innovation. In explorations of the work of celebrated artists such as Jeremy Blake, Mona Hatoum, Pierre Huyghe, Ryoji Ikeda, Takeshi Murata, Diana Thater, and Jennifer West, alongside emerging artists, this volume presents fresh and vigorous perspectives on a burgeoning and ever-changing arena of contemporary art.
Harry Smith
Filmmaker, musicologist, painter, ethnographer, graphic designer, mystic, and collector of string figures and other patterns, Harry Smith (1923-1991) was among the most original creative forces in postwar American art and culture, yet his life and work remain poorly understood. Today he is remembered primarily for his Anthology of American Folk Music (1952)--an idiosyncratic collection of early recordings that educated and inspired a generation of musicians and roots music fans--and for a body of innovative abstract and nonnarrative films. Constituting a first attempt to locate Smith and his diverse endeavors within the history of avant-garde art production in twentieth-century America, the essays in this volume reach across Smith's artistic oeuvre. In addition to contributions by Paul Arthur, Robert Cantwell, Thomas Crow Stephen Fredman, Stephen Hinton, Greil Marcus, Annette Michelson, William Moritz, and P. Adams Sitney, the volume contains numerous illustrations of Smith's works and a selection of his letters and other primary sources.
