Abstract
This chapter argues that the contemporary distribution of artists’ film and video is best characterized as an ecology of competing and co-operating forms of distribution, both formal and informal, which extend across numerous display platforms and take up very different attitudes towards the reproducibility of the moving image. Three case studies—Matthew Barney’s Cremaster 3 (2002), Amie Siegel’s Provenance (2013), and Christian Boltanski’s Storage Memory (2012)—demonstrate how artists today employ creative combinations of forms of distribution that would have been unthinkable even 20 years ago. Though these cases very definitively inhabit a post-digital landscape, they demonstrate a clear desire to assert firm ties to traditional mechanisms governing the sale of art and a persistent investment in rarity, thus dispelling any easy equation of digitization with increased freedom of image circulation.
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Balsom, E. (2016). Distributing Moving Image Art After Digitization. In: Hagener, M., Hediger, V., Strohmaier, A. (eds) The State of Post-Cinema. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-52939-8_10
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DOI: https://doi.org/10.1057/978-1-137-52939-8_10
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