New Slideshow looks at the ways in which artists are using sequences of still images to make film with
various kinds of narratives.
Not exact matches
Gospel Chivalry is less than convincing because it is difficult to know what
kind of a book it is: is it a historical dissertation, an informed
narrative, a meditation or a collection
of short essays
of various types?
And though I'm often reticent to watch movies more than once or twice, Tully is the
kind of cinematic treat — a cult classic well in the making — that you'll want to rewatch again the second it's over, not just to help piece together
various narrative clues but to revisit the rib - tickling jokes and hang out with these characters for a little longer.
This access, which has broadly democratized the field, has created not only a larger and more engaged audience for this
kind of art, but has also created more opportunities for this work to be contextualized within the larger
narratives of contemporary art, as can be seen in the
various approaches
of curators such as Lynne Cooke, Massimiliano Gioni and Daniel Baumann, for example, all
of whom have, in different ways, framed the work
of self - taught artists within their curatorial projects.
The efforts to link these figures seems less based on factual assertions as to their actual historical dynamics, and more
of an appropriation
of the mythologies and public
narratives from each, as a
kind of ready - made lore ripe for nearly miraculous synchronicities and coincidences (
various timelines and actions line up to an uncanny extent).
The exhibition charts a
kind of narrative itinerary ranging from
various works that present intimate correspondence between scammers and victims to so - called «trophy» photographs extracted by vigilante scam - baiters and several video works that feature real or fictional protagonists
of scams, including the major new installation «The Rumor
of the World» (2014).