David Curtis

Artists’ Film offers a lucid, accessible account of artists’ unique contribution to the art of the moving image in the twentieth and early twenty-first centuries. International in scope and accessibly written by a renowned authority on the subject, Artists’ Film is an introductory guide to the exciting and expanding field of artists’ film and an alternative history of the moving image, chronicling artists’ ever-evolving fascination with filmmaking from the early twentieth century to now. From early pioneers to key artists of today, writer and curator David Curtis offers a vivid account of the many creators who have been inspired by the cinematic medium and who have felt compelled to interpret and respond to it in their own way. In doing so, Curtis discusses these artists’ widely differing achievements, aspirations, theories, and approaches. Featuring over four hundred international moving-image makers and drawing on examples from across the arts, including experimental film, video, installation, and multimedia, this generously illustrated account offers an incomparable introduction to this continually evolving art form. A perfect read for anyone with an interest in the intersection of contemporary art and film.

Artists' Film (World of Art)

Duncan White

A. L. Rees

Steven Ball

In this book leading scholars from Europe and North-America trace expanded cinema from its origins in early abstract film to post-war happenings and live events in Europe and the US; the first video and multi-media experiments of the 1960s; the fusion of multi-screen art with sonic art and music from the 1970s onwards, right up to the digital age. It brings new perspectives to bear on the work of established American pioneers such as Carolee Schneemann and Stan Vanderbeek as well as exploring expanded cinema in Western and Central Europe, the influence of video art on new media technologies, and the role of British expanded cinema from the 1970s to the present day. It shows how artists challenged the conventions of spectatorship, the viewing space and the audience, to explore a new participatory and performative cinema beyond the single screen.

Art, Performance, Film

Expanded Cinema

A Fifty Year Evolution

Experimental Cinema (by) David Curtis

Donna Hill

Valerie Thomas

Todd Heldt

Corvin

Robert Kidd

C. E. Laine

David Durham

Andrew Analore

Andrew Analore Aaron Brauer Pris Campbell Sherry Deanne Adams Corvin David Curtis David Durham Deidre Elizabeth C. E. Laine Jason Fraley

Aaron Brauer

Pris Campbell

Sherry Deanne Adams

Deidre Elizabeth

Kathy Kubik

Jason Fraley

Fulicasenia

Poppy Hullings

Lisa Michelle Maloney

McGrittle

Dorothy Doyle Mienko

Mothdust

Heidi L. Nordberg

Nathan Novikoff

Nyktipolos

Rae Pater

Sirrus Poe

Kari Rabarison

Redkat

J. Reed-Meeks

Christopher R. Robbins

Don Schaeffer

D. K. Sterling

Melanie M. Stevenson

B. A. Stites

Paul Trombley

Wintersong

Poems by members of This So Called Life, a writing workshop. Contributing Editors: C. E. Laine and Kathy Kubik, with poetry by Sherry Deanne Adams, Andrew Analore, Aaron Brauer, Pris Campbell, Corvin, David Curtis, David Durham, Deidre Elizabeth, Jason Fraley, Fulicasenia, Todd Heldt, Robert Kidd, Donna Hill, Poppy Hullings, Lisa Michelle Maloney, McGrittle, Dorothy Doyle Mienko, Mothdust, Nathan Novikoff, Nyktipolos, Rae Pater, Kari Rabarison, Redkat, J. Reed-Meeks, Heidi L. Nordberg, Sirrus Poe, Christopher R. Robbins, Don Schaeffer, D. K. Sterling, Melanie M. Stevenson, B. A. Stites, The Lost Lost Boy, Valerie Thomas, Paul Trombley, and Wintersong.

This So Called Life: the anthology

Michael Rosen

A marriage made in heaven . . . Learn to write COM programs to work with CORBA. As it stands, there are two core approaches to distributed objects: OMG's server-side standard, CORBA, and Microsoft's client-side stronghold, COM. The trick for programmers looking to simplify and increase flexibility in their systems is to get these two approaches to work together. Expert help is now available in this practical guide to writing programs that take advantage of the strengths of both industry standards. The authors describe exactly how to write hybrid programs, build real-world systems using COM with CORBA, partition applications, and write COM clients that use CORBA objects and services. The book also discusses key traps and pitfalls to avoid and advises readers on the best solutions to common programming problems encountered when integrating these approaches. Companion Web site includes all source code and demonstrations of applications discussed in the book.

Integrating CORBA? and COM Applications

Stephen G. Crane

Dayan, a Pictorial Biography

David Curtis outlines his approach to painting light-filled landscapes. He stresses the need to paint plein air, with little or no studio work, and discusses techniques and materials suitable for this approach. Detailed instruction on preparing the materials for painting, and advice on composition and tonal range are all designed to enable the artist to capture the light effect that formed their original inspiration. The book includes examples of Curtis's work, including five step-by-step demonstrations where the artsit puts into practice the advice he has given.

Painting Landscapes in Oils

A Light Touch

Environmental art or ‘ecoart’ is a burgeoning field and includes a wide variety of practices, some of which are exemplified in this collection: from sculptures or installations made from discarded rubbish to intimate ephemeral artworks placed in the natural environment, or from theatrical presentations incorporated into environmental education programs to socially critical paintings. In some cases, the artworks aim to create indignation in the viewer, sometimes to educate, sometimes to create a feeling of empathy for the natural environment, or sometimes they are built into community building projects. This timely book examines various roles of the arts in building ecological sustainability. A wide range of practitioners is represented, including visual and performing artists, scientists, social researchers, environmental educators and research students. They are all united in this text in their belief that the arts are vital in the building of sustainability – in the way that they are practiced, but also the connections they make to ecology, science and indigenous culture.

Proceedings of the 2nd National EcoArts Australis Conference

Building Sustainability with the Arts

Robin Capon

David Curtis is one of the most successful and loved artists in the UK. His books are bestsellers and in his latest publication he talks about the secrets of producing paintings with impact. Although his work is not showy, they are powerful and are much-sought after. His secrets for painting with impact are the sensitive consideration of balance and contrast in tone, colour, handling qualities and compositional elements. Whether you’re working on location with a limited palette or in the studio with all the time and materials at your disposal, the author talks you through the ways to capture the essence of a subject matter and the mood or sense of the place, and always with a something that will grab the viewer. The key elements are covered: Selection – what to paint and if necessary how to simplify or dramatise those elements; Mood – creating a strong sense of mood through choice of medium, colour and painting technique; Colour – choosing the right colours to suit the intentions of the painting. The book discusses a range of inspiring locations, from marine subjects, beaches and harbours to city scenes, trees and the light of the Mediterranean.

Painting with Impact

Cornelius Castoriadis is presently Director of Studies at the Ecole des Hautes Etudes en Sciences Sociales in Paris. He is a philosopher, social critic, professional economist, practicing psychoanalyst and one of Europe's foremost thinkers. The Castoriadis Reader provides for the first time an overview of the author's work and encompasses every aspect of his thought.

The Castoriadis Reader

Artists' Film offers a lucid, accessible account of artists' unique contribution to the art of the moving image in the twentieth and early twenty-first centuries.

Artists' Film

A mythopoetically inspired work, with magical realism, psychological insight, and spiritual understanding, and appealing to literary, Jungian, and New Age sensibilities.

Tabu

In recent years the use of film and video by British artists has come to widespread public attention. Jeremy Deller, Douglas Gordon, Steve McQueen and Gillian Wearing all won the Turner Prize (in 2004, 1996, 1999 and 1997 respectively) for work made on video. This fin-de-siecle explosion of activity represents the culmination of a long history of work by less well-known artists and experimental film-makers. Ever since the invention of film in the 1890s, artists have been attracted to the possibilities of working with moving images, whether in pursuit of visual poetry, the exploration of the art form's technical challenges, the hope of political impact, or the desire to re-invigorate such time-honoured subjects as portraiture and landscape. Their work represents an alternative history to that of commercial cinema in Britain - a tradition that has been only intermittently written about until now. This major new book is the first comprehensive history of artists' film and video in Britain. Structured in two parts ('Institutions' and 'Artists and Movements'), it considers the work of some 300 artists, including Kenneth Macpherson, Basil Wright, Len Lye, Humphrey Jennings, Margaret Tait, Jeff Keen, Carolee Schneemann, Yoko Ono, Malcolm Le Grice, Peter Gidal, William Raban, Chris Welsby, David Hall, Tamara Krikorian, Sally Potter, Guy Sherwin, Lis Rhodes, Derek Jarman, David Larcher, Steve Dwoskin, James Scott, Peter Wollen and Laura Mulvey, Peter Greenaway, Patrick Keiller, John Smith, Andrew Stones, Jaki Irvine, Tracy Emin, Dryden Goodwin, and Stephanie Smith and Ed Stewart. Written by the leading authority in the field, A History of Artists' Film and Video in Britain, 1897-2004 brings to light the range and diversity of British artists' work in these mediums as well as the artist-run organisations that have supported the art-form's development. In so doing it greatly enlarges the scope of any understanding of 'British cinema' and demonstrates the crucial importance of the moving image to British art history.

A History of Artists' Film and Video in Britain

Discours de la méthode

Ecoarts practice is evolving quickly as a practice. While much of it is made by individual artists working alone, artists are increasingly combining into multi-artist collectives, and collaborating with scientists, sustainability professionals, industry or the community to develop artworks with quite far-reaching effects. This book describes an extraordinary range of artistic practices pitched to encourage people to adopt pro-environmental behaviours by provoking, persuading, providing information, creating empathy for nature or by being built into sustainability practices themselves. It brings together 28 contributors who examine different roles of the arts in encouraging pro-environmental behaviour. There is a wide range of practitioners represented here, including visual and performing artists, sustainability professionals, social researchers, environmental educators, research students and academics. The contributors to this book are united in believing that the arts are vital in promoting pro-environmental behavior in the way that they are practiced, but also in the connections they make to ecology, science and Indigenous culture.

Using the Visual and Performing Arts to Encourage Pro-Environmental Behaviour

This is the story of two short-lived artist-run spaces that are associated with some of the most innovative developments in the arts in Britain in the late 1960s. The Drury Lane Arts Lab (1967–69) was home to the first UK screenings of Andy Warhol's twin-screen 3 hour film Chelsea Girls, challenging exhibitions (John and Yoko / John Latham / Takis / Roelof Louw), poetry and music (first UK performance of Erik Satie's 24-hour Vexations) and fringe theatre (People Show / Freehold / Jane Arden's Vagina Rex and the Gas Oven / Will Spoor Mime Theatre). The Robert Street 'New Arts Lab' (1969–71) housed Britain's first video workshop TVX, the London Filmmakers Co-op's first workshop and a 5-days-a-week cinema devoted to showing new work by moving-image artists (David Larcher / Malcolm Le Grice / Sally Potter / Carolee Schneemann / Peter Gidal). It staged J G Ballard's infamous Crashed Cars exhibition and John & Dianne Lifton's pioneering computer-aided dance/mime performances. The impact of London's Labs led to an explosion of new artist-led spaces across Britain. This book relates the struggles of FACOP (Friends of the Arts Council Operative) to make the case for these new kinds of space and these new art-forms and the Arts Council's hesitant response – in the context of a popular press already hostile to youth culture, experimental art and the 'underground'. With a Foreword by Andrew Wilson, Curator Modern & Contemporary British Art and Archives, Tate Gallery.

London's Arts Labs and the 60s Avant-Garde

David Curtis is one of the most successful and celebrated artists working in the UK today. His books are bestsellers and in his latest book he discusses and demonstrates his approach to painting outside on location. He paints on site whenever possible as he finds that working directly from the subject gives his work a sense of immediacy, dynamism, light and drama. Many artists are interested in painting outside but lack the confidence to successfully work in this way. Here David shows how to develop the necessary skills. He looks at every aspect, from preliminary planning to appropriate painting techniques and, above all, how to capture the essence of the scene in front of you. He includes location sketching as well as advice on essential equipment to take with you. With practical advice and inspirational paintings covering a wide variety of subjects, Painting on Location will prove valuable to all those who wish to paint outdoors, whether to make finished paintings in their own right on location, or to use the experience and information gathered as a basis for further work in the studio.

Painting on Location

David Curtis

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