Catherine Elwes

in Installation and the Moving Image

Published by Columbia University Press

Published in print May 2015 | ISBN: 9780231174503
Published online November 2015 | e-ISBN: 9780231850803 | DOI:

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This chapter considers the lineage of moving-image installation through painting. There are obvious continuities across painting and the installation of a moving image—both practices organize pictorial elements: shapes, textures, colors, light and dark into readable signs, for the most part defined by a frame, singly or in series. The orchestration of these components draws on compositional principles, forms of staging that were developed in painting. Beyond the common artistry that unites painters and those creating moving image installations, further homologies can be found in the structuring of spectatorship around a fixed point of view in front of the image, an operational bequest from classical realist painting. This chapter also examines Cubism as a new aspect of mobility, articulated within the spatialized domain of the image itself, as well as Futurism's depictions of movement. Finally, it discusses the historical moment of rupture in which the limitations of painting were held to be inhibiting the progress of modernity in the arts.

Keywords: moving image; installation; painting; painters; spectatorship; Cubism; Futurism; rupture

Chapter.  7123 words.  Illustrated.

Subjects: Film

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