James Coleman.
Pompidou Center| N° d'inventaire | 23855 |
| Format | 23 x 27 |
| Détails | 220 p., publisher's hardcover. |
| Publication | Paris, 2021 |
| Etat | nine |
| ISBN | 9782844268976 |
Coleman built his body of work on early films that explored the false pretenses of vision using homemade optical traps. Continuing his research alongside Dan Graham, Coleman learned the lessons of minimalism early on. He implemented radically stripped-down visual devices, similar to those used in scientific experiments, through which he methodically explored the mechanisms of cognition. In the early 1970s, James Coleman invented the medium that would henceforth be associated with his name. He designed installations based on the projection of slides from a carousel. The projection was accompanied by a synchronized soundtrack that played a narrative. The smooth, continuous nature of the text read contrasted with the discontinuous nature of the projected images, providing the viewer with a unique experience, somewhere between a cinematic film shattered into fragments and a photo-novel brought to the dimensions of a history painting.
The catalogue published on the occasion of the exhibition contains, in addition to previously unpublished texts, an anthology of articles by Benjamin Buchloh, Raymond Bellour, Georges Didi-Huberman, Rosalind Krauss, Jacques Rancière and Kaja Silverman, attesting to the exceptional interest aroused by the work of James Coleman among the most important contemporary art critics.
Coleman built his body of work on early films that explored the false pretenses of vision using homemade optical traps. Continuing his research alongside Dan Graham, Coleman learned the lessons of minimalism early on. He implemented radically stripped-down visual devices, similar to those used in scientific experiments, through which he methodically explored the mechanisms of cognition. In the early 1970s, James Coleman invented the medium that would henceforth be associated with his name. He designed installations based on the projection of slides from a carousel. The projection was accompanied by a synchronized soundtrack that played a narrative. The smooth, continuous nature of the text read contrasted with the discontinuous nature of the projected images, providing the viewer with a unique experience, somewhere between a cinematic film shattered into fragments and a photo-novel brought to the dimensions of a history painting.
The catalogue published on the occasion of the exhibition contains, in addition to previously unpublished texts, an anthology of articles by Benjamin Buchloh, Raymond Bellour, Georges Didi-Huberman, Rosalind Krauss, Jacques Rancière and Kaja Silverman, attesting to the exceptional interest aroused by the work of James Coleman among the most important contemporary art critics.