"New babies just home from the hospital, children cavorting under the Christmas tree; weddings, receptions, birthday parties--these and many other happy memories live on through the magic of color slides." --Kodak instruction manual, 1967 Interview with Darsie Alexander, Curator, BMA, August 2004 Since the Renaissance, most art has been prized because of the prodigious skills that went into its making. Why would any artist choose to work with slides? It's tempting to see slide projection as quick and easy. Indeed, ...
Read More
"New babies just home from the hospital, children cavorting under the Christmas tree; weddings, receptions, birthday parties--these and many other happy memories live on through the magic of color slides." --Kodak instruction manual, 1967 Interview with Darsie Alexander, Curator, BMA, August 2004 Since the Renaissance, most art has been prized because of the prodigious skills that went into its making. Why would any artist choose to work with slides? It's tempting to see slide projection as quick and easy. Indeed, many artists cite these qualities when explaining their initial attraction to the medium. But the process can be complicated, involving not only the creation of the transparency itself but also its arrangement, projected scale, and timing. A single carousel may contain as many as eighty images that must be numbered and ordered, a task that grows all the more complicated with the addition of each new slide grouping. When we rediscovered a piece by one of the performance artists in the exhibition, I thought he was going to cry. The prospect of putting the whole complex thing back together was painful, even though he was delighted to see his work again. Of course, slide projection is low-tech and notoriously accident-prone. But I think the medium owes a lot of its immediacy to its tendency as an apparatus to jam, to burn out a bulb, to turn a well-planned show into a logistical nightmare. Good art often courts disaster. Is the development of slide art connected to the ferment of the 60s? During the 1960s and 1970s, public projection of slides became a vehicle for social and political activism. Slide projection's portability made this possible, enabling artists (Krzysztof Wodiczko, for example) to project powerful, challenging images onto public buildings. When Lucy Lippard wanted to publicize the exclusion of women from the Whitney Annual of 1970, she projected slides against the surface of the museum to protest its curatorial policies. This application of slides as critical commentary had historical precedents: in the 1880s, the photographer Jacob Riis used slides of the urban poor to arouse the concern of people who might have been able to help. Did the strong associations of slides with family entertainment have any impact on the ways artists adapted the medium? The fact that the medium promotes a collective viewing experience is important for both artists and popular users. The act of looking at images, especially still photographs, generally involves a single spectator and a stationary object, but with slides you are often sitting in the same room with other people, sharing the experience with them. People who watch Nan Goldin's The Ballad of Sexual Dependency , for example, find themselves on the same emotional roller coaster. It's like the family slide show in a way; people participate in a joint emotional response to images of past events. Of course, the memories and feelings such a work stimulates are different for everyone, and that is the reason The Ballad is such a great piece. Marcel Proust as well as Ingmar Bergman have called attention to the mesmerizing power of the magic lantern shows they saw as children. Is there any connection between those shows and slide shows by such artists as Dennis Oppenheim or James Coleman? Projection is a mysterious process that evokes all kinds of fantasies. The ancient meaning of the term "to project" is related to the alchemical process for changing base metal into gold. Nearly every artist I interviewed remembers being fascinated by shadows on the wall as a kid, or lying in the dark using the beam of a flashlight to make patterns in the darkness. An artist like James Coleman extends this magical experience to viewers by manipulating the transformative properties of slides as images that are not quite real; inde
Read Less
Add this copy of Slideshow: Projected Images in Contemporary Art to cart. $2.33, very good condition, Sold by ThriftBooks-Baltimore rated 5.0 out of 5 stars, ships from Halethorpe, MD, UNITED STATES, published 2005 by Penn State University Press.
Add this copy of Slideshow: Projected Images in Contemporary Art to cart. $2.34, very good condition, Sold by The Maryland Book Bank rated 4.0 out of 5 stars, ships from baltimore, MD, UNITED STATES, published 2005 by Penn State University Press.
Add this copy of Slideshow: Projected Images in Contemporary Art to cart. $3.00, new condition, Sold by PlumCircle rated 5.0 out of 5 stars, ships from West Mifflin, PA, UNITED STATES, published 2005 by Penn State University Press.
Add this copy of Slideshow: Projected Images in Contemporary Art to cart. $5.99, good condition, Sold by Wonder Book - Member ABAA/ILAB rated 5.0 out of 5 stars, ships from Frederick, MD, UNITED STATES, published 2005 by Penn State University Press.
Choose your shipping method in Checkout. Costs may vary based on destination.
Seller's Description:
Good. Good condition. A copy that has been read but remains intact. May contain markings such as bookplates, stamps, limited notes and highlighting, or a few light stains.
Add this copy of Slideshow to cart. $13.92, good condition, Sold by BookHolders rated 5.0 out of 5 stars, ships from Gambrills, MD, UNITED STATES, published 2005 by Penn State University Press.
Add this copy of Slide Show: Projected Images in Contemporary Art to cart. $21.00, new condition, Sold by Mullen Books, Inc. ABAA / ILAB rated 4.0 out of 5 stars, ships from Marietta, PA, UNITED STATES, published 2005 by Baltimore Museum of Art.
Choose your shipping method in Checkout. Costs may vary based on destination.
Seller's Description:
New. Illustrated coers. 166 pp. Profusely illustrated in color. Not really a hardback, but very stick covers that are flexible. This finely conceived and timely exhibition catalogue offers an intelligent exploration of an important and intriguing, but also largely unexamined, aspect of post-sixties art: the slide display utilized as artwork in its own right rather than as a medium for viewing reproductions. (Alex Potts) Since the Renaissance, most art has been prized because of the prodigious skills that went into its making. Why would any artist choose to work with slides? Is the development of slide art connected to the ferment of the 60s? This book examines Slide Art.
Add this copy of Slideshow: Projected Images in Contemporary Art to cart. $26.19, good condition, Sold by Bonita rated 4.0 out of 5 stars, ships from Santa Clarita, CA, UNITED STATES, published 2005 by Penn State University Press.
Add this copy of Slideshow: Projected Images in Contemporary Art to cart. $29.11, new condition, Sold by GreatBookPrices rated 4.0 out of 5 stars, ships from Columbia, MD, UNITED STATES, published 2005 by Penn State University Press.
Choose your shipping method in Checkout. Costs may vary based on destination.
Seller's Description:
New. Trade paperback (US). Glued binding. 192 p. Contains: Halftones, color. In Stock. 100% Money Back Guarantee. Brand New, Perfect Condition, allow 4-14 business days for standard shipping. To Alaska, Hawaii, U.S. protectorate, P.O. box, and APO/FPO addresses allow 4-28 business days for Standard shipping. No expedited shipping. All orders placed with expedited shipping will be cancelled. Over 3, 000, 000 happy customers.
