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020 _a9783031369032
_9978-3-031-36903-2
024 7 _a10.1007/978-3-031-36903-2
_2doi
050 4 _aPN1995.9.E96
072 7 _aAPFN
_2bicssc
072 7 _aPER004060
_2bisacsh
072 7 _aATF
_x6AQ
_2thema
100 1 _aVicente, Mercedes.
_eauthor.
_4aut
_4http://id.loc.gov/vocabulary/relators/aut
_967340
245 1 0 _aDarcy Lange, Videography as Social Practice
_h[electronic resource] /
_cby Mercedes Vicente.
250 _a1st ed. 2024.
264 1 _aCham :
_bSpringer International Publishing :
_bImprint: Palgrave Macmillan,
_c2024.
300 _aXVIII, 278 p. 45 illus.
_bonline resource.
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
490 1 _aExperimental Film and Artists’ Moving Image,
_x2523-7535
505 0 _aChapter 1 Social Consideration, Communication, Observation: From Sculpture to Film and Photography -- Chapter 2 Ethnographic, Structuralist and Real-Time Filmmaking -- Chapter 3 Images of People at Work -- Chapter 4 Education, Participation, and the Making of the Subject -- Chapter 5 Social Activism.
520 _aThe Videography of Darcy Lange is a critical monograph of a pivotal figure in early analogue video. Trained as a sculptor at the Royal College of Art, Lange developed a socially engaged video practice with remarkable studies of people at work in industrial, farming, and teaching contexts that drew from conceptual art, social documentary and structuralist filmmaking. Lange saw in portable video a democratic tool for communication and social transformation, continuing the legacy of the revolutionary avant-garde projects that merged art with social life and turned audiences into producers. This book follows Lange's trajectory from his early observational studies to the crisis of representation and socially engaged video and activism, as it is shaped by, and resists, the artistic, cultural and political preoccupations of the 1970s and 1980s. It strikes a balance between being a monographic account providing a close analysis of Lange's oeuvre and drawing from unpublished archival materials—a sort of catalogue raisonné—whilst maintaining a breadth with theoretical discourses around the themes of labour and class, education, and indigenous struggles central to his work. The book's frameworks of Conceptual Art, structuralist and ethnographic film theory, social documentary and the critique of representation, video as social practice and the notion of 'feedback', participatory socially engaged art and postcolonial and indigenous theory,—expand our understanding of video outside the predominant structuralist tendencies. Lange's transnational and nomadic career introduces notions of alterity and challenges nationalistic accounts that excluded him in the past. Mercedes Vicente is a curator, writer, and researcher. She is Associate Lecturer in Critical and Contextual Studies at the London Metropolitan University and was a lecturer at Royal College of Art, UK. She has held museum positions as interim Director of Education and Public Programmes at Whitechapel Gallery in London, Curator of Contemporary Art and Darcy Lange Curator-at Large at Govett-Brewster Art Gallery in New Zealand, and Research Curatorial Assistant at the Whitney Museum of American Art in New York.
650 0 _aExperimental films.
_967341
650 0 _aArts.
_965405
650 0 _aPhotography.
_967342
650 1 4 _aExperimental Film.
_967343
650 2 4 _aFine Art.
_967344
650 2 4 _aPhotography.
_967342
710 2 _aSpringerLink (Online service)
773 0 _tSpringer Nature eBook
776 0 8 _iPrinted edition:
_z9783031369025
776 0 8 _iPrinted edition:
_z9783031369049
776 0 8 _iPrinted edition:
_z9783031369056
830 0 _aExperimental Film and Artists’ Moving Image,
_x2523-7535
_967345
856 4 0 _uhttps://doi.org/10.1007/978-3-031-36903-2
912 _aZDB-2-LCM
912 _aZDB-2-SXL
999 _c56583
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