Sometimes the contents of a studio provide the artist with a subject; equally, its space can become the artwork.
The propaganda needs of the Second World War offered artists working with film numerous opportunities, but sometimes challenging briefs.
A Measure of Landscape
Following John Constable’s intensive study of cloud formations, many filmmakers have explored ways of capturing the dramatic interplay of landscape and weather.
Early Video at LVA
London Video Arts (LVA) was set up in 1976 to promote and distribute video art. Artists had begun to experiment with video as soon as the first reel-to-reel portable recorders arrived in Britain in the late 1960s. Limited to a black and white image, and with no edit function, the appeal of video lay in its instantly available ‘live’ image and, in contrast to film, its simplicity.
Central to the wave of feminist filmmaking that began in the late 1970s was the reintroduction of the spoken and written word, after a decade in which silent and mute images had dominated.
The desire to capture and preserve the likeness of fellow human is a recurring preoccupation in film, as in painting and sculpture.
‘Expanded cinema’ was a term used to describe films presented on many screens simultaneously. Its aim was to make visible aspects of the medium normally employed ‘transparently’. It demanded that the spectator reflect on the means of image-making.
The process of making a film can be an attempt to describe how the world is structured, what it contains, and how its invisible systems work.
Seven TV Pieces & Nine Jokes
Serial works, in which ideas unfold through a series of distinct but related parts, were a feature of 1970s Conceptual art.
Assumptions about race, gender and sexuality were questioned by a new generation of artists in the 1980s. Film provided a space in which personal identity could be explored.