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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, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CHSO for personal use.date: 27 September 2021

: Moving Images in the Gallery

: Moving Images in the Gallery

(p.82) (p.83) 3: Moving Images in the Gallery
Between the Black Box and the White Cube

Andrew V. Uroskie

University of Chicago Press

Explores the 1955 Movement exhibition in Paris as a early turning point in the emergence of the moving image in postwar art practice. The recovery of Duchamp’s interest in the 19th century philosophical toy presented a model for artists wishing to engage the moving image at a critical distance from the specific conditions of the cinematic theatre to which it had become historically conjoined. Breaking the synthetic coherence of the motion picture into its component parts, Robert Breer’s folioscopes and mutoscopes of the ‘50s and early ‘60s mined the prehistory of industrial cinema to create works which functioned simultaneously as both film and sculpture. The revival of the philosophical toy allowed the moving image to enter the institutional space of the art gallery, where it could engage directly with the transformations taking place within late modern painting and sculpture. Concludes by situating the more canonical early works of audiovisually-mediated sculpture from Robert Morris, Nam June Paik, and Robert Whitman within this model of bifurcated aesthetic spectatorship and the challenge to institutional norms it necessarily entailed.

Keywords:   Robert Breer, Marcel Duchamp, Kinetic Art, Philosophical Toy, Installation Art, Robert Whitman

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