By C. Sprengler
Hitchcock and modern paintings introduces readers to the interesting and numerous diversity of inventive practices dedicated to Alfred Hitchcock's motion pictures. His works be capable of turn on refined engagements with Hitchcock's motion pictures and cinema extra mostly, tackling problems with time and area, reminiscence and background, and sound and photograph.
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Additional resources for Hitchcock and Contemporary Art
Still others will see an encounter with Gordon’s Empire as an end in itself: the art pilgrim and the cinephilic pilgrim, for example. Tontine Lane beckons art lovers and fans of Douglas Gordon’s oeuvre. Those interested in his work trek to its location as one would to a museum to visit a favorite piece. After all, Gordon is one of Scotland’s most prominent contemporary artists, a status secured by his Turner Prize win in 1996 and selection as Britain’s representative for the 1997 Venice Biennale.
It is through these more detailed readings of the works that I hope to make a case for their value to our efforts at understanding Hitchcock, his work and legacy, and the cinema itself in its past and possible future forms. There are other omissions too that should be acknowledged from the start. This is not a study of Hitchcock’s films except insofar as the artists considered direct us to certain elements of his cinema. As such, my engagement with Hitchcock’s oeuvre is piecemeal, fragmented, and outside the logic of more conventional film analyses that rightfully speak to that which is prevalent, structuring, or defining of his films.
Commissioned by Visual Art Projects (VAP) for their “Urban Icons” series of “deliberately non-grandiose” public artworks, Empire was initially revealed in Brunswick Lane between Glasgow’s Trongate and Merchant City in January of 1998. Gordon selected this site for what he felt was its distinctly “cinematic atmosphere,” one enhanced by a suspended streetlamp that swung in the wind. 34 Empire was then later moved to its current location, four blocks over on Tontine Lane. 40 Hi t ch co ck an d C on t e m p o r ar y A r t Gordon’s installation refers to the “Hotel Empire” sign in Vertigo.
Hitchcock and Contemporary Art by C. Sprengler