The (moving) pictures generation : the cinematic impulse in downtown New York art and film /
Dika, Vera,1951-
New York ; Basingstoke : Palgrave Macmillan,
2012.
"Downtown New York in the late 1970s was filled with a vibrant energy, and with young artists making groundbreaking work. Many, like Cindy Sherman, Robert Longo, and Kathryn Bigelow, have become legendary. The (Moving) Pictures Generation is a book about artists who were trained in art schools rather than film schools, but whose fascination was with the "movies." Their art was rife with cinematic reference, not only through "appropriation," as often noted, but by something deeper. Cinematic time, as duration and history, was engaged, as well as body movement, as gesture and pose, and narrative as cultural meaning. Andy Warhol in the 1960s had addressed similar issues. "--Provided by publisher.
"Beginning in the late 1970s, a number of visual artists in downtown New York City returned to an exploration of the cinematic. They engaged cinematic movement, time, and the body in their work, and did so across mediums, utilizing not only film, but sculpture, drawing, photography, and performance. The cinematic impulse was evidenced in the high art of Jack Goldstein, Robert Longo, and Cindy Sherman, and in the film practices of "No Wave" filmmakers Amos Poe and Vivienne Dick, and the feature films of Kathryn Bigelow. Vera Dika considers the work within a greater cultural context and probes for a deeper understanding of the practice"--Provided by publisher.
"Downtown New York in the late 1970s was filled with a vibrant energy, and with young artists making groundbreaking work. Many, like Cindy Sherman, Robert Longo, and Kathryn Bigelow, have become legendary. The (Moving) Pictures Generation is a book about artists who were trained in art schools rather than film schools, but whose fascination was with the "movies." Their art was rife with cinematic reference, not only through "appropriation," as often noted, but by something deeper. Cinematic time, as duration and history, was engaged, as well as body movement, as gesture and pose, and narrative as cultural meaning. Andy Warhol in the 1960s had addressed similar issues. "--Provided by publisher.
"Beginning in the late 1970s, a number of visual artists in downtown New York City returned to an exploration of the cinematic. They engaged cinematic movement, time, and the body in their work, and did so across mediums, utilizing not only film, but sculpture, drawing, photography, and performance. The cinematic impulse was evidenced in the high art of Jack Goldstein, Robert Longo, and Cindy Sherman, and in the film practices of "No Wave" filmmakers Amos Poe and Vivienne Dick, and the feature films of Kathryn Bigelow. Vera Dika considers the work within a greater cultural context and probes for a deeper understanding of the practice"--Provided by publisher.
Includes bibliographical references and index.
Machine generated contents note: -- Introduction * (MOVING) PICTURES * The (Moving) Picture: Joseph Cornell, Edison Company, Andy Warhol, Jack Goldstein * The Female Body and the Frameline: Andy Warhol and Cindy Sherman * Vivienne Dick's Film Portraits * COMMUNITY * Amos Poe and the New York New Wave * Downtown and Community: Eric Mitchell, James Nares, Nan Goldin * NARRATIVE EXPECTATIONS * The Art of Transformation: Jack Goldstein, Robert Longo, and Cindy Sherman * Edging toward the Mainstream: Eric Mitchell, Jim Jarmusch, Amos Poe, Kathryn Bigelow * THE CINEMATIC BODY * Themes of Aggression: Lizzie Borden, Bette Gordon, Vivienne Dick, Beth and Scott B., James Nares, John Lurie * The Male Body in Cinematic Performance: David Byrne, Spalding Gray, Paul Swan, Eric Bogosian * The Ephemeral Body, the Female Voice: Louise Lawler, Ericka Beckman * THE MAINSTREAM * Incursions into Popular Culture: Robert Longo, Cindy Sherman, Kathryn Bigelow, Julian Schnabel * Conclusion and Continuation.
Art and motion pictures
Art, American
Experimental  films