Why am I passionate about this?
I am an artist-filmmaker, writer, and Professor of Experimental Film at the University for the Creative Arts in Canterbury, Kent, UK. I have worked at the London Filmmakersā Co-op and BBC TV. I have been making films since 1974 and teaching since 1988. I have published extensively on Artistsā Film / Experimental Cinema. I have edited and contributed chapters to numerous other books and journals, including Millennium Film Journal, MIRAJ, Film Quarterly, Sequence, and others. I have completed over 70 single screen works in 16mm and video, gallery film and video installations, and multi-projector film performances. These have been screened worldwide.
Nicky's book list on artistsā film and video
Why did Nicky love this book?
Connollyās book traces recent historical shifts in artistsā cinema via a number of overlapping trends; multi-screen video projections in galleries, work that āreferences an earlier event through documentation, re-enactment or remakingā and that which explores the relationship between cinema, screen architecture, and the museum or gallery space. The implications of these trends; the mobile as opposed to seated spectator or the making of work designed to run as continuous short loops, is considered via detailed discussion of works by a small number of key artists. Connolly, unusually and refreshingly, is not afraid to criticise, as in her discussion of Douglas Gordon and Philippe Parrenoās film Zidane.
1 author picked The Place of Artists' Cinema as one of their favorite books, and they share why you should read it.
In The Place of Artists' Cinema, Maeve Connolly identifies a recurrent concern with site, space and cinema architecture in film and video works by artists, extending from the late 1960s to the present day. Focusing on developments over the past decade, Connolly provides in-depth readings of selected recent works by twenty-four different artists, ranging from multi-screen projections to site-specific installations and feature-length films. She also explores changing structures of exhibition and curation, tracing the circulation of film and video works within public art contexts, galleries, museums, biennial exhibitions and art fairs. Providing a chapter on the role of public fundingā¦
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