LEADER 03939nam 22006015 450 001 9910838369603321 005 20200424112023.0 010 $a0-226-10902-X 024 7 $a10.7208/9780226109022 035 $a(CKB)2670000000519279 035 $a(EBL)1629196 035 $a(SSID)ssj0001107939 035 $a(PQKBManifestationID)12392579 035 $a(PQKBTitleCode)TC0001107939 035 $a(PQKBWorkID)11102237 035 $a(PQKB)10971078 035 $a(StDuBDS)EDZ0000708035 035 $a(MiAaPQ)EBC1629196 035 $a(DE-B1597)523570 035 $a(OCoLC)870272302 035 $a(DE-B1597)9780226109022 035 $a(EXLCZ)992670000000519279 100 $a20200424h20142014 fg 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aBetween the Black Box and the White Cube $eExpanded Cinema and Postwar Art /$fAndrew V. Uroskie 210 1$aChicago : $cUniversity of Chicago Press, $d[2014] 210 4$dİ2014 215 $a1 online resource (284 p.) 300 $aDescription based upon print version of record. 311 $a0-226-84299-1 311 $a0-226-84298-3 320 $aIncludes bibliographical references and index. 327 $tFrontmatter -- $tContents -- $tAcknowledgments -- $tIntroduction: From Medium to Site -- $t1. Rhetorics of Expansion -- $t2. Leaving the Movie Theater -- $t3. Moving Images in the Gallery -- $t4. Cinema on Stage -- $t5. The Festival, the Factory, and Feedback -- $tEpilogue: The Homelessness of the Moving Image -- $tNotes -- $tIllustration Credits -- $tIndex 330 $aToday, the moving image is ubiquitous in global contemporary art. The first book to tell the story of the postwar expanded cinema that inspired this omnipresence, Between the Black Box and the White Cube travels back to the 1950s and 1960s, when the rise of television caused movie theaters to lose their monopoly over the moving image, leading cinema to be installed directly alongside other forms of modern art. Explaining that the postwar expanded cinema was a response to both developments, Andrew V. Uroskie argues that, rather than a formal or technological innovation, the key change for artists involved a displacement of the moving image from the familiarity of the cinematic theater to original spaces and contexts. He shows how newly available, inexpensive film and video technology enabled artists such as Nam June Paik, Robert Whitman, Stan VanDerBeek, Robert Breer, and especially Andy Warhol to become filmmakers. Through their efforts to explore a fresh way of experiencing the moving image, these artists sought to reimagine the nature and possibilities of art in a post-cinematic age and helped to develop a novel space between the "black box" of the movie theater and the "white cube" of the art gallery. Packed with over one hundred illustrations, Between the Black Box and the White Cube is a compelling look at a seminal moment in the cultural life of the moving image and its emergence in contemporary art. 606 $aArt and motion pictures 606 $aArt, Modern 606 $aArt, Modern$y20th century 610 $acinema, cinematic, film, postwar, wartime, art, artistic, global, international, contemporary, 1950s, 1960s, movies, studies, college, university, textbook, academic, scholarly, research, theatres, modern, analysis, critical, critique, technology, technological, innovation, theater, video, nam june paik, robert whitman, stan vanderbeek, breer, director, filmmaker. 615 0$aArt and motion pictures. 615 0$aArt, Modern. 615 0$aArt, Modern 676 $a700.9/045 700 $aUroskie$b Andrew V., $4aut$4http://id.loc.gov/vocabulary/relators/aut$0773069 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a9910838369603321 996 $aBetween the black box and the white cube$91728731 997 $aUNINA