Chapter 1: Introduction
The introduction of the book “Artists’ Moving Image in Britain Since 1989” provides an overview of the emergence and development of the moving image in the British art scene since the late 1980s. It discusses the intersection of film, video, and digital technology with contemporary art practices, and how this has transformed the traditional medium of film into a more diverse and experimental form. The chapter also highlights the various themes and debates that have shaped the artistic landscape of moving image in Britain over the past three decades.
One real-life example of the impact of moving image on British contemporary art is the work of Turner Prize-winning artist, Steve McQueen. McQueen emerged on the art scene in the early 1990s, at a time when there was a surge of interest in the moving image as a medium for artistic expression. His early works, such as "Bear" (1993) and "Deadpan" (1997), consisted of silent, single-channel videos that explored themes of race, identity, and history. These works were highly influential in the development of moving image as a form of contemporary art in Britain.
Chapter 2: The 1990s: The Rise of the Moving Image
This chapter focuses on the developments in the 1990s that paved the way for the increasing use of the moving image in British art. It examines the impact of major events such as the launch of the first commercial digital video camera, the establishment of art institutions specifically dedicated to video art, and the growth of online platforms for artists to showcase their work.
One notable example of a British artist who rose to prominence in this period is Douglas Gordon. His seminal work "24 Hour Psycho" (1993) consists of a slowed-down version of Alfred Hitchcock's film "Psycho", which plays continuously for 24 hours. This installation highlights Gordon's interest in the manipulation of time and the blurring of boundaries between film and art. The use of the moving image in this work also challenges the traditional viewing experience and encourages contemplation and introspection from the audience.
Chapter 3: The 2000s: New Digital Technologies and Expanded Cinema
The 2000s saw significant advancements in digital technologies, which opened up new possibilities for artists working with moving image. This chapter explores how these developments have shaped the work of British artists and the ways in which they have redefined the concept of cinema and expanded its boundaries.
An example of an artist who has embraced these new technologies is Tacita Dean. Her film installation "The Green Ray" (2001) combined traditional film footage with digital elements to create an immersive experience for the viewer. This work also reflects a shift in focus in British moving image art from purely narrative-driven works to explorations of the medium itself and its possibilities.
Chapter 4: Spatial and Political Concerns
Chapter 4 delves into the various spatial and political concerns that have influenced the British moving image art scene. It discusses the way in which artists have used moving image to explore issues of identity, place, and social and political commentary.
One example of this is the work of Isaac Julien, whose film installation "Western Union: Small Boats" (2007) addresses the often-overlooked history of African migration to Europe. The installation uses multiple screens to create a fragmented and immersive experience, inviting the viewers to question their own perceptions of borders and migration. This work reflects a growing trend in British moving image art to use the medium as a means of challenging dominant narratives and amplifying marginalized voices.
Chapter 5: The 2010s: The Impact of the Digital Age
The final chapter of the book examines the impact of the digital age on British moving image art, from the rise of social media and online platforms to the blurring of boundaries between art and mass media. It also explores how artists have continued to push the boundaries of the medium and experiment with new forms and technologies.
One significant example from this period is Turner Prize-winning artist Elizabeth Price's 2012 video installation "The Woolworths Choir of 1979". Combining archival footage with original footage and sound, Price’s work reflects on the changing nature of consumer culture and its impact on society. The use of digital editing techniques adds another layer to the work, highlighting the increasing role of technology in shaping contemporary art practices.
In conclusion, “Artists’ Moving Image in Britain Since 1989” provides a comprehensive and in-depth analysis of the development of moving image as a form of contemporary art in Britain. Through real-life examples of artists and their works, the book highlights the rich and diverse history of the medium and its impact on the British art scene over the past three decades.
