Carousel Slides: Then and Now.
This curatorial research output encompasses a series of exhibitions: Blackout (2019, lead output); Japanese Expanded Cinema Revisited (2017); Norio Imai – Time Severed, Jointed and Stretched (2017); Still Moving (2016). Centred on artists’ uses of the carousel slide projector, Ross’s research juxtaposes artistic uses in the 1960 –1970s and from 2004 onwards after Kodak suspended its production. The temporal scope of Carousel Slides focuses on specific moments, while the geographic reach challenges the Eurocentricity of art history and exhibitions of artists’ slide projector works. Ross’s research was funded by Leverhulme Trust Early Career Fellowship. See Portfolio Booklet for documentation of research dimensions.
- Submitting institution
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The University of Westminster
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- qvx39
- Type
- T - Other
- DOI
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- Location
- Blackout (lead component of output, group exhibition, curator), Kunsthal Rotterdam, group exhibition and performances, part of IFFR, January 24 – February 3, 2019. Further details in portfolio.
- Brief description of type
- Other: Curation
- Open access status
- Out of scope for open access requirements
- Month
- October
- Year
- 2016
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- The project expands the research directions of two theoretical and art historical fields: medium specificity, and de-westernisation of contemporary art. Ross asks: What are the specific qualities of the slide projector that encourage its continued use among artists globally? The curation of the exhibitions reveals the following insights. Firstly, artists from different parts of the world, generations and backgrounds continue to use the carousel slide projector. The device is often associated with ideas of nostalgia. Nevertheless, the exhibitions’ featuring of artists’ work from Asia, Africa and South America, which are mostly ignored in key historical studies of this medium, demonstrate that artists use slide projectors to explore entanglements of apparatus, history and politics. Secondly, the study of slide projectors demands an interdisciplinary and intermedial approach as it sits between still and moving image, the projected and the material. Whilst slide-based works have been considered within the context of the dematerialisation of the art object, the materiality of the slide projector is a key rationale for its artistic use.
Ross’s research on Shuzo Azuchi Gulliver’s forgotten installation Cinematic Illumination (1968 – 69) led to its acquisition by Tokyo Photographic Art Museum. Ross subsequently advised MoMA on its acquisition of the work.
- Author contribution statement
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- Non-English
- No
- English abstract
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