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Wolverhampton Intellectual Repository and E-Theses > School of Art & Design > Centre for Art, Design, Research and Experimentation (CADRE) > Art Practice and Critical Theory > The Cholmondely Ladies and Rhythms of the Visible

Please use this identifier to cite or link to this item: http://hdl.handle.net/2436/36672
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Title: The Cholmondely Ladies and Rhythms of the Visible
Other Titles: 124 Minutes
Authors: Kossoff, Adam
Citation: In: Wood, J. and Harrison, P. (eds.), 124 Minutes. Cardiff: Ffotogallery, pp 91-97
Publisher: Cardiff: Ffotogallery
Issue Date: 2006
URI: http://hdl.handle.net/2436/36672
Additional Links: http://www.wlv.ac.uk/Default.aspx?page=15909
http://www.ffotogallery.org/publication.php?pub_id=297&p=
Abstract: Kossoff’s four thousand word essay, “The Cholmondely Ladies” and “Rhythms of the Visible,” looks at how the video work of Harrison and Wood addresses ideas around the frame as a form of representation, and analyzes how this relates to early cinema. Kossoff uses the painting of “The Cholmondely Ladies” (1600-01) to begin the discussion of the frame, both an opening and a closure, in the video art practice of Harrison and Wood. He also maps out a recent development in Harrison and Wood’s work from the static camera to the moving one, which acts as commentary on the course of film evolution and reflects the development of video art in general.
Type: Book chapter
Language: en
Keywords: Video art
Early cinema
ISBN: 1872771645
Appears in Collections: Art Practice and Critical Theory

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