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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, 2020. 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 January 2020

: Rhetorics of Expansion

: Rhetorics of Expansion

Chapter:
(p.16) (p.17) 1: Rhetorics of Expansion
Source:
Between the Black Box and the White Cube
Author(s):

Andrew V. Uroskie

Publisher:
University of Chicago Press
DOI:10.7208/chicago/9780226109022.003.0002

Within the frenetic pace of cultural transformation occuring in the mid-‘60s, the emergence and rapid popularization of the term “Expanded Cinema” managed to conflate a wide range of disparate activities and aims, engendering a critical confusion that helped to consign it to the dustbin of art history. Specifically, this chapter contends that the industrial spectacle of multi-screen cinema at the 1964-65 New York World’s Fair crowded out a radically divergent vision then emerging amongst the artists of the New York Underground. Minimalist, rather than maximalist, this alternative conception sought not to complete with Hollywood, but to utilize the idea of the moving image to challenge the institutional foundations of modern art as it remained structured by the static object.

Keywords:   1964 World’s Fair, Film Exhibition, Multiscreen Cinema, Nam June Paik, Claes Oldenburg, Andy Warhol, Underground Cinema, New York Film Festival

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