This book explores the frequent co-incidence of installation and the moving image—two irreconcilable artistic practices—in galleries and museums. More specifically, it traces the lineage of moving-image installation through architecture, painting, sculpture, performance, expanded cinema, film history, and countercultural film and video from the 1960s, 1970s, and 1980s. It argues that moving-image installation embodies the perceptual doubleness of the spectator, the human ability to suspend disbelief and entertain two realities simultaneously. It also discusses the arguments of experimental film's detractors and counters them by indicating the lessons that may be derived from oppositional film practices, particularly structural/materialist film. Finally, it considers sound, a component of installed work that is often overlooked, along with the procedural, political, theoretical, and ideological positions espoused by artists in the period from the mid-twentieth century to the present.
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