From organisations like the Filmmakers Co-op, moving image’s experimental qualities became more and more aligned with artistic practice. Malcom Le Grice’s Little Dog for Roger (1967), utilised the physicality of film as an object. Cuts, scratches and sprocket holes all became material for the creation of work. It’s easy to see how Le Grice’s materiality in form led to his establishment of a film course for painters in St Martin’s School of Art.
The blurring of form between filmmaking, moving image and wider art practice continues to this day with boundaries being tested and pushed. The book 8 Metaphors (because the moving image is not a book) is a collection of conversations, correspondence and visual material that brings together a diverse group of contributors to articulate their practice (or simply, practice) in written form.
And lastly, to bring us to the (nearly) present, Sarah Pucill’s Blind Light is available here to watch online. Pucill’s performance documentation became a film work in itself. These liminal and hard-to-define boundaries are blurred as light changes, frames are changed, and interactions with the visuals occur.
LUX Scotland are based in Glasgow, and provide access to LUX’s extensive collection of moving image work. Become a SUPERLUX member to view these works in our office, and gain access to special events, bursaries, concessionary rates and a host of member-only opportunities. All SUPERLUX members are entitled to reduced membership at the GSA Library. Take the time too, to discover the rest of the wonderful collection of artist moving image works already housed within the GSA Library, catalogued and shelved under ART MOV.