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Additional info for Abstract Video: The Moving Image in Contemporary Art
Sanchez was writing about Ken Okiishi’s recorded paintings on flat screens. 9. ” 10. Boris Groys, Art Power (Cambridge, MA: MIT Press, 2008), 83. 11. See Amy Cappellazzo, Adriano Pedrosa, and Peter Wollen, Making Time: Considering Time as a Material in Contemporary Video and Film. (Lake Worth, FL: Palm Beach Institute of Contemporary Art, 2000); Sean Cubitt, “Vector, Space, and Time,” in Resolutions 3: Global Networks of Video, ed. Ming-Yuen S. Ma and Erika Suderburg (Minneapolis: University of Minnesota Press, 2012), 297; and Los Angeles Filmforum at MOCA screening Time as Material (Los Angeles, CA: Museum of Contemporary Art, 2013).
Hanhardt The past three decades have witnessed remarkable changes in our thinking about film and video as art forms. The avant-garde cinema enjoyed critical acclaim during the 1960s and 1970s, one of the greatest periods in the history of independent film in America. In the 1980s, filmmakers, critics, and historians, who viewed the artists of the previous two decades as creators of the canon of works defining avant-garde film, increasingly began to question definitions of contemporary avant-garde film practice.
Because the two larger images are successive refilmings of the first, layers of time are created, disrupting and expanding the temporal dimension of the original footage. In Third Degree Sharits confronts the material basis of the film 2 2 • T r a n s m i s s i o n medium by burning the individual frames. The exploding, overheated film alters the material medium, the recorded image is torn apart to expose raw colors and textures through the abstract layers of burning celluloid. The chemical properties of the celluloid and the light of the projector remove film from its traditional setting and transform it into a plastic, abstract field.