To browse Academia. In Moveyhouse , Claes Oldenburg instructed the audience to stand in the aisles of a cinema. While the projector ran empty, performers in the seats enacted typical film-going behaviors, such as laughing, smoking, or eating popcorn. In four chronologically organized chapters, this study traces the conceptual dependence and deep connectivity among Claes Oldenburg's poetry, sculpture, films, and performance art between and This research-intensive book argues that Oldenburg's art relies on machine vision and other metaphors to visualize the structure and image content of human thought as an artistic problem.
Anchored in new oral history interviews and extensive archival material, it brings together understudied visual and concrete poetry, experimental films, fifteen group performances commonly referred to as happenings , and a close analysis of his well-known installations of The Street and The Store , effectively setting in place a reexamination of Oldenburg's pop art from the street, store, home, and cinema years. The book will be of interest to scholars working in art history, film studies, performance studies, literature, intermedia studies, and media theory.
The first chapter establishes the conceptual framework for the investigation, differentiating the idea of Expanded Cinema from practice the multiscreen cinema with which it was historically conflated. Situating it within a broader, post-Cagean aesthetic of institutional disruption, the Expanded Cinema circa is conceptualized as a fulcrum for the historical emergence of the moving image in the spaces of postwar art.
The concluding chapter returns to to understand the Expanded Cinema in crisis at the height of its early popularity β as the introduction of video feedback helps to occasion a shift torwards the more problematically diffuse situation of televisual culture. In wonderment I quite forgot my pain. Hattie M. Loble, 1. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive.
We use information technology and tools to increase productivity and facilitate new forms of scholarship. Special thanks to Malcolm Turvey for his suggestions and encouragement as I wrote and revised this essay, and to Jane M. Greene for her patient listening and constant support of my work, even when she has so much of her own. This fnal fruit of a much broader project of scholarly revisionism is, aptly enough, immense. With a running time of over nineteen hours, and including flms, many of which are rare and previously unavailable on DVD, Unseen Cinema hopes to make part of its revisionist argument about the early American avantgarde-that such a thing, in fact, existed before Maya Deren-through sheer volume.
