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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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: The Festival, the Factory, and Feedback

: The Festival, the Factory, and Feedback

(p.171) 5: The Festival, the Factory, and Feedback
Between the Black Box and the White Cube

Andrew V. Uroskie

University of Chicago Press

Explores the 1966 New York Film Festival as the paradoxical zenith and culmination of the Expanded Cinema’s popularity within the “film art” community, and the subsequent turn away from established institutions of art and film. The first section describes Warhol’s creation of the “Factory” as an alternative space in which the line between media exhibition and media production is purposely blurred. Situates Warhol’s innovative use of videotape within Outer and Inner Space (1965) in the context of his earlier practice of film and audiotape recording, and contends that this cinematic double portrait of Edie Sedgwick exemplifes the site of the Factory itself an experiment in the the social and psychological ramifications of feedback in the televisual era. The second section explores a radically different work from the same moment was similarly invested in conjoining film and video in an exploration of social feedback: Ken Dewey’s Selma Last Year (1966). Rather than creating his own alternative space, Dewey drew from his longstanding interest in context and site-specific performance to stage an intervention during the New York Film Festival that demanded his audience question their own spectatorship of the traumatic revolution that was the American civil rights movement.

Keywords:   New York Film Festival, Andy Warhol, Video Art, Ken Dewey, Musical Minimalism, Installation, Civil Rights Movement

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