By Erika Balsom
From the sale of movie in constrained versions at the artwork industry to the downloading of bootlegs, from the singularity of dwell cinema to video artwork broadcast on tv, Erika Balsom investigates how the reproducibility of the relocating picture has been embraced, rejected, and negotiated through significant figures together with Stan Brakhage, Leo Castelli, and Gregory Markopoulos. via a comparative research of chosen distribution types and key case reports, she demonstrates how the query of picture stream is imperative to the heritage of movie and video paintings. After Uniqueness indicates that distribution channels are greater than impartial pathways; they make certain how we come across, interpret, and write the historical past of the relocating photo as an artwork form.
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