Academic journal article Millennium Film Journal

Introduction

Academic journal article Millennium Film Journal

Introduction

Article excerpt

Morgan Fisher has maintained a consistent aesthetic position in an art practice spanning more than four decades while evading the confines of a single medium or format. Best known as a filmmaker, his recent installations engage neither moving images nor projections, but wall paintings and mirrors. Enrico Camporesi & Rinaldo Censi's enlightening conversational interview with Fisher is paired with Joana Pimenta's precise analysis of his work centered on the film (). Both texts describe the way Fisher's cinematic work is often based on or generated by the procedures, the apparatus, or, generally, the contrivances of filmmaking. This basic idea marks the major theme of this issue, the various connections between artists' moving image and the fundamentals of cinema.

Kim Knowles's manifesto on artists' reclamation of the photochemical, for example, shows how strategies for excavating, adopting and adapting photochemical processes have released unexpected forms of personal expression and new directions for exploration, while the emergence of digital formats has opened up equally new but quite different paths. Pip Chodorov makes a different case in his insider survey of the international development of artist-run film labs, suggesting that inspiration for the many artists still committed to photochemical media comes not from the drive to produce images, but directly from hands-on practice with the materials and processes that generate images. His advocacy of artists' control of the means of production is vividly expressed, reinforced by his personal enthusiasm for the enterprise: infectious and inspiring, it is a clear indication of the vitality of the artist-run lab movement. …

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