MRes Art: Moving Image events archive
Read below about previous MRes Art: Moving Image events.
Distribution as Preservation
At its origin in the 1960s and 70s, “video art” was intrinsically linked to television – both technologically, and conceptually. Rebecca Cleman, Director of Distribution EAI, presented a selection of rarely-to-never screened titles form the EAI catalog to discuss EAI’s preservation and distribution programs.
The Ambivalence of Influence: Brakhage, Warhol and after
In the 1960s the writer Parker Tyler examined together the films of Stan Brakhage and those made by Andy Warhol – contrasting the way in which they framed shots, edited footage, and thought about the camera itself – concluding that they represented opposite ends of the filmmaking spectrum at that time. The talk looked at some of the ways in which filmmakers (from the 1960s to today) who have referenced the work of Warhol and Brakhage in their work have expressed a profound ambivalence towards it – refusing either critique or homage.
Original Copies: The Limited Edition in Film and Video
Influenced by the practices of late-nineteenth century printmaking, the idea of selling artists’ films as limited editions arises in the early 1930s but remains unrealized at that time. Throughout most of the twentieth century, attempts to edition film and video consistently failed to achieve market viability. This changes in the 1990s, when a number of factors align to make such a model of distribution not only possible, but more and more preferred. The talk unfolded this history, proposing an account of the reasons behind the increasing adoption of the limited edition over the past twenty years, and will explore what implications this development has for the production, distribution, and acquisition of film and video today.
From Reform to Resource: Contemporary Art Practice and the Television Industry
For many decades, the relationship between art and the television industry was framed in terms of opposition, but in recent years television has tended to function as a resource for artists, rather than as an object of reform or reinvention. In particular, the late 2000s have witnessed a number of cross-institutional collaborations between artists, art institutions and broadcasters in Ireland, Mexico and Sweden. Informed by these collaborations, the lecture explores convergences and tensions between art and television production cultures.