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A long-overdue publication that restores Wilfred to the art-historical canon Lumia presents a long-overdue reevaluation of the groundbreaking artist Thomas Wilfred (1889-1968), whose unprecedented works prefigured light art in America. As early as 1919, many years before the advent of consumer television and video technology, Wilfred began experimenting with light as his primary artistic medium, developing the means to control and project unique compositions of colorful, undulating light forms, which he referred to collectively as lumia. Manifested as both live performances on a cinematic scale and self-contained structures, Wilfred's innovative displays captivated audiences and influenced generations of artists to come. This publication, the first dedicated to Wilfred in over forty years, draws on the artist's personal archives and includes a number of insightful essays that trace the development of his work and its relation to his cultural milieu. Featuring a foreword by the celebrated artist James Turrell, Lumia helps to secure Wilfred's rightful place within the canon of modern art.
This anthology brings together the few essays on Lumia that were published during Thomas Wilfred's lifetime. Wilfred, an artist who experimented with a form of visual music he called "Lumia" developed an entire aesthetic system that could either be performed live, or set-up as an automatic display. His instrument, the Clavilux, was subject of several patents, collected along with images from Opus 161. Together these essays, the patents, and selected images provide a clear description of Lumia, what Wilfred described as "the eighth art."
Reshapes the history of abstract animation and its importance to computer imagery and cinema Animation and technology are always changing with one another. From hand-drawn flipbooks to stop-motion and computer-generated imagery (CGI), animation’s identity is in flux. But many of these moving image technologies, like CGI, emerged from the world of animation. Indeed, animation has made essential contributions to not only computer imagery but also cinema, helping shape them into the fields and media forms we know today. In Pulses of Abstraction, Andrew R. Johnston presents both a revealing history of abstract animation and an investigation into the relationship between animation and cinema. Examining a rich array of techniques—including etching directly onto the filmstrip, immersive colored-light spectacles, rapid montage sequences, and digital programming—Pulses of Abstraction uncovers important epistemological shifts around film and related media. Just as animation’s images pulse in projection, so too does its history of indexing technological and epistemic changes through experiments with form, material, and aesthetics. Focusing on a period of rapid media change from the 1950s to the 1970s, this book combines close readings of experimental animations with in-depth technological studies, revealing how animation helped image culture come to terms with the rise of information technologies.
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.
Kinetic art not only includes movement but often depends on it to produce an intended effect and therefore fully realize its nature as art. It can take a multiplicity of forms and include a wide range of motion, from motorized and electrically driven movement to motion as the result of wind, light, or other sources of energy. Kinetic art emerged throughout the twentieth century and had its major developments in the 1950s and 1960s. Professionals responsible for conserving contemporary art are in the midst of rethinking the concept of authenticity and solving the dichotomy often felt between original materials and functionality of the work of art. The contrast is especially acute with kinetic art when a compromise between the two often seems impossible. Also to be considered are issues of technological obsolescence and the fact that an artist’s chosen technology often carries with it strong sociological and historical information and meanings.
Why is the sky blue? Why is pink for girls and blue for boys? Why do prisoners wear orange? And why can one colour have so many opposite meanings? If lobsters are a red emblem of privilege how is it that a red flag can also be the banner of Communism? Jude Stewart, a design expert and writer, digs into this rich subject with gusto, telling her favourite stories about colour as she discovers what it can really mean. Each chapter is devoted to a colour, opening with an infographic map that links such unlikely pairings as fox-hunting and flamingos. From there on in, you're plunged into a kaleidoscopic tour of the universe that encompasses everything from wildflowers to Japanese warriors. The links between them reveal hidden realities that you never would have suspected. Roy G. Biv is a reference and inspiration for everyone, with sidebars and graphics galore. The aim is simple: to tantalise and inform, and to make you think about colour in a completely new way.
Today the media arts not only address the great themes of our times, they inhabit the very media of which they speak. The contemporary is global, but only because of the media that enable globalisation. Those media are almost nowhere apparent in the mainstream practice of art that we see in biennials from Venice to Sao Paolo. The media arts reflect back to us our present condition, and in the archive present us with the ghosts of what we were, and what we failed to become. This book brings the reader into the centre of these strange encounters, introducing us to the rich legacies and futures of the most important arts of the last hundred years. It also looks ahead to the future and asks what happens to the condition of being human within the new constellation into which we are entering?
Expanded cinema: avant-garde moving image works that claim new territory for the cinematic, beyond the bounds of familiar filmmaking practices and the traditional theatrical exhibition space. First emerging in the 1960s amidst seismic shifts in the arts, multi-screen films, live cinematic performance, light art, kinetic art, video, and computer-generated imagery - all placed under expanded cinema's umbrella - re-emerged at the dawn of the 2000s, opening a vast new horizon of possibility for the moving image, and perhaps even heralding the end of cinema as we know it. Cinema Expanded: Avant-Garde Film in the Age of Intermedia offers a bold new account of its subject, breaking from previous studies and from larger trends in film and art scholarship. Author Jonathan Walley argues that expanded cinema's apparent departure from the traditions and forms of cinema as we know it actually radically asserts cinema's nature and artistic autonomy. Walley also resituates expanded cinema within the context of avant-garde film history, linking it to a mode of filmmaking that has historically investigated and challenged the nature and limits of cinematic form. As an outgrowth of this tradition, expanded cinema offered a means for filmmakers within the avant-garde, regardless of their differing styles, formal concerns, and politics, to stake out cinema's unique aesthetic terrain - its ontology, its independence, its identity. In addition to reconsidering the better-known expanded cinema works of the 1960s and 70s by artists like Andy Warhol, Robert Whitman, and Nam June Paik, Cinema Expanded also provides the first scholarly accounts of scores of lesser-known works across more than 50 years. Making new arguments about avant-garde cinema in general and its complex meditations on the nature of cinema, it urgently addresses current and crucial debates about the fate of the moving image amidst a digital age of near-constant technological change.
Includes 12 illustrated essays, these case studies on artists and concepts present Dada as a coherent movement with a set of operating principles.