MONDAY, OCTOBER 13, 2014
N107, Princeton School of Architecture, 5:00pm
"Selma Last Year (1966): Site-Specificity and Expanded Cinema"
This talk will consider "Selma Last Year," a largely forgotten multimedia installation that took place during the Winter of 1966 as part of the New York Film Festival's fleeting interest in Expanded Cinema. A collaboration between the street theater producer Ken Dewey, Magnum photojournalist Bruce Davidson, and Minimalist composer Terry Riley, this groundbreaking media installation juxtaposed large scale projected images, an immersive audio collage, small scale photographic prints, 16mm documentary film, and a delayed video feedback loop to create a series of intentionally disjunctive environments. During the Festival’s Expanded Cinema Symposium, Annette Michelson would explicitly dismiss Dewey’s work as a “revival of the old dream of synesthesia”— insisting upon a Modernist conception of medium-specificity as the only legitimate grounds for aesthetic radicalism. While the success of the “Structural Film” in the years immediately following might be taken as evidence for Michelson’s position, I contend that Dewey’s prescient concern for what would come to be articulated as “site-specificity” would prove the more enduring model for critical media aesthetics in the decades to come.
Andrew V. Uroskie is Associate Professor of Modern & Contemporary Art, and Director of the Doctoral Program in Modern Art History, Criticism and Theory at Stony Brook University in New York. Broadly speaking, his work explores how durational media have helped to reframe traditional models of aesthetic production, exhibition, spectatorship, and objecthood. He has published in numerous journals and anthologies in the US, England, Italy, Spain, and Brazil, both in English and in translation. His first book, Between the Black Box and the White Cube: Expanded Cinema and Postwar Art, was recently published by the University of Chicago Press.
Branden W. Joseph received his Ph.D. from Harvard University in 1999. His first book, Random Order: Robert Rauschenberg and the Neo-Avant-Garde, examined all aspects of the artist's development from 1951 to 1971 — including painting, sculpture, "Combines," and performance — from a theoretical perspective drawing from Jacques Derrida, Gilles Deleuze, and Georges Bataille. Joseph's further work on Rauschenberg has appeared in journals from October magazine to the Journal of Art History (Stockholm), as well as in the Robert Rauschenberg: Combines retrospective catalogue (LACMA, 2005).