Structure Function Time by Rosetta Brooks Works John Latham (1 results)
More imagesStructure and Function in Time: John Latham, John Stezaker, John Blake, Peter Gidal, John Hilliard
Rosetta Brooks ed. with works by John Latham, John Stezaker, John Blake, Peter Gidal, John Hilliard
Published by Sunderland Arts Centre, Sunderland, 1975
- Softcover
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Add to basketPaperback. Condition: Fine. Book. STRUCTURE AND FUNCTION IN TIME, edited and compiled by Rosetta Brooks, (Works by) John Latham, John Stezaker, John Blake, Peter Gidal, John Hilliard, Sunderland Arts Centre, Sunderland, 1975. 292 x 210mm, 30pp in printed wraps. Printed as part of the exhibition 'Structure and Function in Time 'o…rganised by the curator Rosetta Brooks. Brooks also contributed the preface. Texts by the artists including John Latham: 'Time Base and Determination in Events'; John Stezaker: 'Temporality and Radicality'; John Blake: 'Arrest'; Peter Gidal: 'On Film Print' and notes; John Hilliard: 'Notes from 1968-70, Notes from 1070-71'. Concludes with 6 pages of artist diagrams and text by Latham ('Genealogy of Family Tree of Concept') and Stezaker ('Who, What, Why?/The Tale, The Telling of the Tale, The Moral'). Illustrated with black and white reproductions. The catalogue represents an important historical document as it was never officially released due to issues between the artists, the curator and the publisher. No copies on Copac or held in any library as of October 2013. A significant group show of Avant Garde artists working in Britain, many concerned with film, video, time and space. See: Rees, A L, 'Projecting Back - UK film and video installation in the 1970s', Millennium Film Journal, Vol.52, 2009. 'The following year (1973) was perhaps the apex of this first phase of artists' film and video, with "Structures & Codes" at the Royal College of Art showing films by John Blake, Peter Gidal and David Lamelas alongside media art by John Stezaker, John Latham and Stephen Willatts. "Structure and Function in Time," curated by Brooks at the Sunderland Arts Centre, included many of the same artists. But this phase was soon over. Even though the influential journal Studio International devoted special issues to film (1975) and video (1976), many of the conceptualists, such as Hilliard, had already abandoned film. By contrast, the artists grouped around the LFMC had defined film as their principal medium. This led to a split and a redrawing of the borders around the use of film by artists. The consequences were to last for the next thirty years.' Rees, A L, 'Projecting Back - UK film and video installation in the 1970s', Millennium Film Journal, Vol.52, 2009.
