Sculpture and Film
During much of the twentieth century, film was often assumed to be a ‘flat’ pictorial art, more often compared with painting and graphic media than with sculpture. In the last few decades, however, film has come to be more closely associated with sculpture, and in recent years, it has largely been through gallery installations not only that the sculptural aspect of film and video has been demonstrated, but also the extent to which filmic representation enlarges our understanding of sculptural space. This collection thus comprises the first rigorous exploration of the relationship between sculpture and film, charted over ten essays. The contributors explore some of the ways in which cinema reshaped the landscape of art and specifically sculpture and sculptural practice during the twentieth century. They also examine how film has functioned as a ‘sculptural’ medium at crucial moments in various stages of its evolution. In this way, it is a book about both sculpture and film, and sculpture as film.
Table of Contents
List of illustrations Notes on contributors Foreword 1 Filling the frame: Brancusi’s film stills of Leda and the manifestation of attention (Alexandra Parigoris) 2 ‘Deaf, dumb and blind cinema’: re-evaluating the surrealist object through film (Samantha Lackey) 3 Stop and go: sculpture in experimental film (Cornelia Lund) 4 Acoustic shaping: sound, film and sculpture (Nora M. Alter) 5 ‘The art that moves’: Len Lye, film and sculpture (David Curtis) 6 Moving in the image: Judd’s crystals (Kirstie Skinner) 7 The cut: Hollis Frampton and Carl Andre in dialogue (Melissa Ragona) 8 ‘The very statues breathe’: Greenaway, Shakespeare and the performance of sculpture (David Pascoe) 9 Prop, studio, action: Paul McCarthy’s cuts (John C. Welchman) 10 Staging/object/film: considering Robert Morris at Tate Gallery in 1971 (Lisa Le Feuvre) Index
Jon Wood is Head of Research at the Henry Moore Institute in Leeds.
Ian Christie is Professor of Film and Media History at Birkbeck, University of London.