It refers to nothing beyond this real time. It deals with the projected light beam itself, rather than treating the light beam as a mere carrier of coded information, which is decoded when it strikes a flat surface … This film exists only in the present: the moment of projection. ‘ Line Describing a Cone is what I term a solid light film. McCall originally conceived the work as an assault on cinematic conventions. This dimension of viewing becomes more intriguing when more than one viewer sees the work at the same time – as each person decides whether a particular kind of behaviour in the space will affect the other’s experience. More importantly, they can move their bodies: the space is empty of any seating, and this means that the viewer can also decide to ‘break’ the cone by inserting themselves between the projector and the screen. For the viewer, therefore, there is no one point of focus: they can watch the growing circle on the screen, or the growing cone between screen and projector, or move their eyes between the two. Meanwhile, between the screen and the projector, the beam of light is visible as a gradually growing cone, made visible as particles in the air are illuminated by the projector. Over the duration of the film, all that is visible on the screen is the slow drawing of this circle. This dot grows into a line, which arcs around to form a circle. The film is visible on the screen first as a white dot on a black ground. The work was especially important to sculptors such as Richard Serra, and supposedly determined Gordon Matta-Clark’s decision to make Conical Intersect. This was made in 1973, first shown in the context of ‘independent film’, and more recently displayed in art museums. One of the most important works of the period was Anthony McCall’s Line Describing a Cone, a work he described as ‘the first film to exist in real, three-dimensional space’. At the same time, art historians such as George Baker and Maxa Zoller have turned to these practices, debating terms such as ‘expanded cinema’, ‘film beyond its limits’, ‘structuralist film’, ‘sculptural film’, etc. ![]() These practices have been the focus of recent curatorial attention – notable exhibitions being Chrissie Iles’s Into the Light and X-Screen at Mumok in Vienna, and Stuart Comer’s film programmes at Tate Modern. Around the same time, independent filmmakers who did not necessarily identify themselves as ‘artists’ began to consider the sculptural dimensions of film – paying attention not just to the images that they presented on the screen, but to the texture of the film emulsion, the sound of the projector, the space between projector and wall. In the late 1960s, a number of artists who had trained as sculptors, and whose most well known work was sculpture, started working with film ( Robert Morris, Richard Serra, Robert Smithson). Should We Reproduce the Beauty of Decay? A Museumsleben in the work of Dieter Roth Replication of Sculpture / Works of Art: Legal Guidelines ![]() ![]() Replication and Decay in Damien Hirst's Natural History Petra Lange-Berndt Replicas of László Moholy-Nagy’s Light Prop: Busch-Reisinger Museum and Harvard University Art Museums Replicas of Constructions by Naum Gabo: A Statement by the Copyright Holders Replicas and Reconstructions in Twentieth-Century Art Reconstructing the Forgotten: An Exhibition of 1970 s and 1980 s Video Installations, Re-staged with Authentic Technology Nothing but the Real Thing: Considerations on Copies, Remakes and Replicas in Modern Art Naum Gabo and the Quandaries of the Replica The Model of Vladimir Tatlin’s Monument to the Third International: Reconstruction as an Instrument of Research and States of Knowledge Kurt Schwitters: Reconstructions of the Merzbau Karin Orchard Gabo Cataloguing Project at the Tate Archive Thoughts on Replication and the Work of Eva HesseĪnthony M cCall’s Line Describing a Cone Anthony McCall and Mark Godfreyīlurring the Boundaries between Art and Life (in the Museum?)ĭegradation of Naum Gabo’s Plastic Sculpture: The Catalyst for the Workshopĭigitisation and Conservation: Overview of Copyright and Moral Rights in UK Law The Modern Cult of Replicas: A Rieglian Analysis of Values in Replication
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