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Between the Black Box and the White CubeExpanded Cinema and Postwar Art$
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Andrew V. Uroskie

Print publication date: 2014

Print ISBN-13: 9780226842981

Published to Chicago Scholarship Online: September 2014

DOI: 10.7208/chicago/9780226109022.001.0001

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PRINTED FROM CHICAGO SCHOLARSHIP ONLINE (www.chicago.universitypressscholarship.com). (c) Copyright University of Chicago Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CHSO for personal use.date: 21 October 2019

: From Medium to Site

: From Medium to Site

Chapter:
(p.1) Introduction: From Medium to Site
Source:
Between the Black Box and the White Cube
Author(s):

Andrew V. Uroskie

Publisher:
University of Chicago Press
DOI:10.7208/chicago/9780226109022.003.0001

Since the mid-‘90s, contemporary art practice and criticism has been engaged in a widespread reformulation of the concept of “site-specificity.” At the same time, the vast proliferation of artists’ film and video installation has given rise to an anxiety over the proper material, institutional, and discursive location of these works as they abjure the traditional conditions of the art gallery’s white cube or the film theatre’s black box. The introduction endeavors to bring these two apparently disparate threads together by recalling their historical conjunction within a theory and practice of 1960s Expanded Cinema.

Keywords:   Janet Cardiff, Site-Specificity, Medium-Specificity, Rosalind Krauss, Gene Youngblood, Film Theory, Contemporary Art

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