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Situating structural film within the field of conceptual art, Raban’s film performance 2′45″ (1973) is presented as a case study to define works constructed on the principle of unifying the time and place of the artwork’s production and time/place of its exhibition. A conceptual genealogy of such works is plotted from John Cage, Alvin Lucier and Victor Burgin through to Tony Conrad, Stephen Partridge, David Cunningham, Louise Marsh and myself. The chapter concludes with a reflection on the significance of key exhibitions, film festivals and social gatherings that generated communication and creative dialogue between individual artists and groups of filmmakers.

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From 2′45″ to Pink Trousers, After Duchamp, 4′22″, Crosscurrents

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    2025年

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  • William Raban

摘要

Situating structural film within the field of conceptual art, Raban’s film performance 2′45″ (1973) is presented as a case study to define works constructed on the principle of unifying the time and place of the artwork’s production and time/place of its exhibition. A conceptual genealogy of such works is plotted from John Cage, Alvin Lucier and Victor Burgin through to Tony Conrad, Stephen Partridge, David Cunningham, Louise Marsh and myself. The chapter concludes with a reflection on the significance of key exhibitions, film festivals and social gatherings that generated communication and creative dialogue between individual artists and groups of filmmakers.