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  1. British Avant-Garde Film Graphic Art 1966-85 ; an online exhibition by the British Artists' Film & Video Study Collection


    URL/Identifizierer http://www.studycollection.co.uk/postershow/index.html
    QuellenartStrukturierte Informationsangebote>>Thematische Websites>>; Elektronische Volltexte & Multimedia>>Sonstige Volltexte / Multimedia>>
    UrheberGreen, Darren
    Schlagworte FWFilmprogramm; Filmgeschichtsschreibung; Filmplakat; Film; Großbritannien
    Beschreibung "This exhibition forms part of the Study Collection's commitment to provide access to previously unavailable research materials. The work displayed here can only hint at the amount and variety of material generated by artists and organisations as they attempted to catch their audiences. More images exist in the collection, and many more remain to be collected. I have specifically chosen the period 1966 -1985 because it is book-ended by the establishment of the London Filmmakers Co-operative (LFMC) - a key moment of coherence and integration in the developing avant-garde - and the intervention in the late 80s of the mainstream art establishment, and colonising of gallery-spaces that led to the explosion of interest in moving image art in the nineties. The images featured in this exhibition were produced before computer-based design programmes and digital imaging became common tools. For the most part, the designers had backgrounds in painting, printing, sculpture, photography and filmmaking, and very often used basic stencils, dyes, screen prints and paint, producing work that encompassed styles ranging from vivid psychedelia and pop art humour to situationist montage. The exhibition is divided into three themes but can also be viewed as a whole in the Chronology. The first section contains posters for seasons and films by individual artists. The creative overdrive produced by having limited resources is evident in the posters for Bikeboy (1968) and Chelsea Girls (1968). Steve Dwoskin has related how he sometimes found producing the posters more expensive than the films themselves. His design for his own Dynamo (1971) clearly shows his skills as an artist as does John Maybury's beautiful design for events at The Diorama (1983). Key festivals and touring programmes are represented in the second section. The New American Cinema (1968), otherwise known as the 'Sitney' tour is a good example of a significant historical moment tied to a strong, iconic visual. The advertising of independent screening spaces is well represented, as is the involvement of larger organisations such as the British Film Institute and the National Film Theatre in posters for events such as the 1st International Underground Film Festival (1970). The role of galleries like the Serpentine and the Hayward is clear in The Video Show (1975) and Perspectives on British Avant Garde Film (1977). The third section includes periodicals and ephemera that supported exhibition activity. This section is brief but illustrates the importance of visual impact in writings about and by the filmmakers, an example being the first issue of the Film Co-op produced Cinim (1966). Tracing the designers and dates of some of the images featured in this exhibition has proved difficult, and some credits remain incomplete. Any help with correcting misattributions and other errors will be welcomed." (Information des Anbieters)
    Inhaltsverzeichnis/StrukturIntroduction; Themes; Chronology
    Themen FWFilm>>Biographie, Filmgeschichte; Film>>Künstlerische Filmgattungen
    RVK FWAP 44930; AP 54000
    DDC FWHistorische, geografische, personenbezogene Behandlung
    geographischer BezugEuropa, Westeuropa>>Britische Inseln>>; Europa, Westeuropa>>England und Wales>>
    zeitlicher Bezug20. Jahrhundert, 1900 – 1999>>1960 - 1969>>; 20. Jahrhundert, 1900 – 1999>>1970 - 1979>>; 20. Jahrhundert, 1900 – 1999>>1980 - 1989>>
    SpracheEnglisch