New technological media such as film, photography and computers have altered the way we perceive possible relations between stillness and motion in the visual arts. Traditionally, cinema theory saw cinema and especially the ‘illusion of motion’ as part of the ideological swindle of the basic cinematic apparatus. This collection of essays by acclaimed international scholars including Tom Gunning, Thomas Elsaesser, Mark B.N. Hansen, George Baker, Ina Blom and Christa Blümlinger, starts out from a different premise to analyse stillness and motion as part of a larger ecology of images and media. They argue that the strategic uses of stillness and ...

At the center of the exhibition space, there is a black table, strewn with pages and with objects, mostly small, tiny things, on cardboard, on paper. There are some wood scraps, some small bursts of pigment—rust red, sky blue, green, mustard—but the variegated brown of torn, weathered cardboard dominates, covered in more black, in puddles of ink. The cardboard pieces amount to what the art world would call “ephemera,” gathered from the workplace of the artist. They date, mostly, from the 1980s, the 1990s. They share the table with some randomly distributed white pages, as if from a book—a work ...

Words Without Pictures was originally conceived by curator Charlotte Cotton as a means of creating spaces for discourse around current issues in photography. Every month for a year, beginning in November 2007, an artist, educator, critic or curator was invited to contribute a short unillustrated essay about an aspect of emerging photography. Each piece was available on the Words Without Pictures website for one month and was accompanied by a discussion forum focused on its specific topic. Over the course of its month-long “life,” each essay received both invited and unsolicited responses from a wide range of interested parties. All ...