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John Divola: Continuity

DIVOLA, John, DIMENDBERG, Edward

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ISBN 10: 0963078542 / ISBN 13: 9780963078544
Published by Ram Publications and Smart Art Press, Santa Monica, California, 1997
Condition: Near Fine Soft cover
From Vincent Borrelli, Bookseller (Albuquerque, NM, U.S.A.)

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About this Item

First edition, first printing. Soft cover. Photographically illustrated stiff wrappers (published only in wraps). Introduction by John Divola. Essay by film critic Edward Dimendberg. 72 pp. with 120 black and white reproductions. 10 x 11-3/4 inches. This first edition was limited to 3500 copies. Near Fine (stray surface marks and indentations, else Fine). From the publisher: "The creation of seamless illusion remains a driving tenet of Hollywood cinema. In order to preserve this illusion, no disruptions of cinematic space and time can be allowed. After collecting these discarded photographs from the Warner Brothers 10930's film sets, Divola began to group the randomly found images in haunting installations of fictive reality.". Bookseller Inventory # 108629

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Bibliographic Details

Title: John Divola: Continuity

Publisher: Ram Publications and Smart Art Press, Santa Monica, California

Publication Date: 1997

Binding: Soft cover

Book Condition:Near Fine

Dust Jacket Condition: No dust jacket as issued

Edition: 1st Edition.

About this title

Synopsis:

The creation of seamless illusion remains a driving tenet of Hollywood cinema. In order to preserve this illusion, it is crucial that there are no jarring disruptions of cinematic space and time. This preservation of order is called continuity, and it has been the focus of John Divola's photographic work for the past several years, as beautifully represented in this striking book. Divola takes the original still photographs he has collected of Warner Bros. film sets from the 1930s, which were used to maintain continuity, and creates haunting installations of fictive reality. Divided into subject categories such as "Hallways" and "Broken Furniture and Evidence of Aggression," these images possess a glorious beauty, made possible by the use of 8 x 10 negatives, while being grounded in an intelligence found in the best of conceptual art. Features an elucidating essay by the noted film writer and critic Edward Dimendberg.

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