Helen Pritchard, Eric Snodgrass, Magda Tyźlik-Carver (eds.): Executing Practices (2017–)

“This collection brings together artists, curators, programmers, theorists and heavy internet browsers whose practices make critical intervention into the broad concept of execution. It draws attention to their political strategies, asking: who and what is involved with those practices, and for whom or what are these practices performed, and how? From the contestable politics of emoji modifier mechanisms and micro-temporalities of computational processes to genomic exploitation and the curating of digital content, the chapters account for gendered, racialised, spatial, violent, erotic, artistic and other embedded forms of execution. Together they highlight a range of ways in which execution emerges and how it participates within networked forms of liveliness.”

Contributors: Roel Roscam Abbing, Geoff Cox, Olle Esvik, Jennifer Gabrys, Franciso Gallardo, David Gauthier, Linda Hilfling Ritasdatter, Brian House, Yuk Hui, Marie Louise Juul Søndergaard, Peggy Pierrot, Andy Prior, Helen Pritchard, Audrey Samson, Kasper Hedegård Shiølin, Susan Schuppli, Femke Snelting, Eric Snodgrass, Winnie Soon, Magda Tyżlik-Carver.

Publisher Autonomedia, New York, 2017
Data Browser series, 6
Creative Commons BY-NC-SA 3.0 Unported License
ISBN 9781570273216
279 pages

New version
Publisher Open Humanities Press, Nov 2018
Data Browser series, 6
Creative Commons BY-SA 4.0 Unported License
ISBN 9781785420566
310 pages

Review: Monika Szűcsová (Computational Culture, 2021).

Book series
Publisher (2018)

PDF, PDF (2017, 24 MB, updated on 2017-4-10)
PDF, PDF (2018, 12 MB, added on 2018-11-28)
EPUB, EPUB (2018, 21 MB, added on 2018-11-28)

Radical Light: Alternative Film and Video in the San Francisco Bay Area, 1945-2000 (2010)

“This kaleidoscopic collection of essays, interviews, photographs, and artist-designed pages chronicles the vibrant and influential history of experimental cinema in the San Francisco Bay Area. Encompassing historical, cultural, and aesthetic realms, Radical Light features critical analyses of films and videos, reminiscences from artists, and interviews with pioneering filmmakers, curators, and archivists. It explores artistic movements, film and video exhibition and distribution, artists’ groups, and Bay Area film schools. Special sections of ephemera—posters, correspondence, photographs, newsletters, program notes, and more—punctuate the pages of Radical Light, giving a first-hand visual sense of the period. This groundbreaking, hybrid assemblage reveals a complex picture of how and why the San Francisco Bay Region, a laboratory for artistic and technical innovation for more than half a century, has become a global center of vanguard film, video, and new media.

Among the contributors are Rebecca Solnit and Ernie Gehr on Bay Area cinema’s roots in the work of Eadweard Muybridge and others; Scott MacDonald on Art in Cinema; P. Adams Sitney on films by James Broughton and Sidney Peterson; Stan Brakhage, Bruce Conner, Lawrence Jordan, and Yvonne Rainer on the Bay Area film scene in the 1950s; J. Hobeman on films by Christopher Maclaine, Bruce Conner, and Robert Nelson; Craig Baldwin on found footage film; George Kuchar on student-produced melodramas; Michael Wallin on queer film in the 1970s; V. Vale on punk cinema; Dale Hoyt and Cecilia Dougherty on video in the 1980s and 1990s; and Maggie Morse on new media as sculpture.”

Edited by Steve Anker, Kathy Geritz and Steve Seid
Publisher University of California Press, and Berkeley Art Museum and Pacific Film Archive, Berkeley, 2010
ISBN 9780520249103, 0520249100
352 pages

Reviews: Molly H.Cox (Other Cinema, 2011), Lucy Raven (BOMB, 2011), Federico Windhausen (Moving Image, 2012), Mike Leggett (Leonardo, 2012).

Exhibition
Publisher (BAMPFA)
Publisher (UC Press)
WorldCat

multiple formats (on Internet Archive)
PDF (35 MB)

Tabea Lurk: Tony Conrad. Video – und darüber hinaus (2015) [German]

“Celebrated as a musician, filmmaker, video and performance artist, Tony Conrad (1940-2016) achieved his breakthrough in 1966 with the experimental film The Flicker. In addition to his film work (including the so called Yellow Movies), his violin performances have also achieved broad recognition. This monograph focuses on about 70 video works produced by the artist since 1977, which previously have not been systematically studied. Beginning from Conrad’s earlier rather materialistic approach, in ‘A Videographic View of the Artist’s Vita’ the text follows the artist’s shift from experimental film to a more image-driven videographic approach. The chapter ‘Last Call for Video’ comments on Tony Conrad’s influential interaction with the Buffalo-based group of appropriation artists. Then ‘Video as Critique of Television’ interrogates the interplay between (video) art and society as a reflection of the telematic culture of the 1980s. The last chapter, ‘Video in Tension with Music’, returns to the beginning of the artist’s career and comments on Tony Conrad’s identity as a musician.”

Publisher Peter Lang, Bern, 2015
Creative Commons BY-NC-ND 4.0
ISBN 9783034320375, 303432037X
450 pages

Publisher
OAPEN
WorldCat

PDF, PDF
PDF chapters
PNGs