Art and film since 1945 : Hall of Mirrors
Museum of Contemporary Art, Los Angeles,
This publication accompanies the exhibition “Hall of Mirrors: Art and Film Since 1945” organized by Kerry Brougher and presented at The Museum of Contemporary Art, Los Angeles.
Hall of Mirrors : Kerry Brougher
to deconstruct cinema is to investigate a culture defined to a large degree by the cinematic experience. .. Since mid-century, artists have created work which often allows us to enter the film apparatus. p.23.
PART 1: Cinema Degree Zero : Testing the Limits p.75.
Warhols’ early films are an integration of the image with the apparatus, an image that colud only be derived by allowing the apparatus to function at tis most rudimentary level. p.75.
Warhol’s works of the early 60s mark a point where the dialogue between art and cinema had already fully torn apart the structures of Hollywood and had getten out from under Hollywood’s vast shadow. p.76.
Robert Smithson also saw the postwar motion picture as an entropie entity, as a system that eventually deteriorates and starts to break apart and there’s no way that you can really piece it back together again. “Making a film is one thing, viewing a film is another. Impassive, mute, still have the viewer sits. The outside world fades as the eyes probe the screen.” (robert smithson, ‘A Cinematic Atopia’, 53.) p.81.
Indeed, when seen as an extension of some of Warhol’s artistic practice, which combined elements of Hollywood, pop, and Mimimalism, structualism is anything but pure. p.83.
The desire to break down cinema into its individual components and to make it a concrete object as apposed to an etheral medium interested not only American experimental filmmakers and European artists such as Joseph Boeys, but also conceptually-oriented artists in America. like John Badessari. (1970- 1980s)
Baldesarri had begun to consider cinema as a means of approaching art from a different perspective; he was interested in the opportunity to explore sequentially within the single photograph, …. p.86.