List of Hitchcock Artworks Cited
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Appendix List of Hitchcock Artworks Cited Gail Albert Halaban Out My Window, 2007– Hopper Redux, 2009– Merry Alpern Untitled # 28, 1994 J. Tobias Anderson 879, 1998 879 Color, 2002 Nine Piece Rope, 2002 Bodega Bay School, 2004 A North Window for the Man with Vertigo, 2004 Prairie Stop, Highway 41, 2004 Martin Arnold Psycho, 1997 John Baldessari Tetrad Series: To Be A, 1999 Tetrad Series: What Was Seen, 1999 Judith Barry Casual Shopper, 1980–81 Aurélie Bauer Rear Window, 2009 Cindy Bernard Ask the Dust: North by Northwest 1959/1990, 1990 Ask the Dust: Vertigo 1958/1990, 1990 Location Proposal #2, 1997 Gregg Biermann Spherical Coordinates, 2005 Pierre Bismuth Respect the Dead, Vertigo, 2001 156 Appendix Jean Breschand Don’t They Ever Stop Migrating, 2007 Victor Burgin The Bridge, 1984 Jim Campbell Illuminated Average #1: Hitchcock’s Psycho, 2000 Accumulating Psycho, 2004 Steven Campbell Strangers on a Train, 2003 Daniel Canogar Dial “M” for Murder, 2009 Gregory Chatonsky Vertigo@home, 2007 Gregory Crewdson Untitled: Birds around Home, 1997 Philippe Decrauzat Afterbirds, 2008 Brice Dellsperger Body Double Series, 1995– Stefan Demary Birds, 1999 Stan Douglas Subject to a Film: Marnie, 1989 Christoph Draeger Schizo (Redux), 2004 Laurent Fiévet Portrait a l’Ecume, 2007 Portrait a l’Helice, 2007 Lovely Memories, 2007 Continuations of Hitchcock: Ink Red, Infrastructures, De X con- struction, Circulations, 2003–10 Alain Fleischer Exhibition in the North of France, 1992 Christoph Girardet and Matthias Müller The Phoenix Tapes, 1999 Bertrand Giraudeau Cary Grant, 2001 Jean Luc Godard Histoire(s) du Cinéma, 1988–98 Douglas Gordon 24 Hour Psycho, 1993 Psycho Hitchhiker, 1993 Appendix 157 A Souvenir for Non-Existence, 1993 Empire, 1998 Airmail White Portrait, 1999 Feature Film, 1999 Surface Mail White Portrait, 1999 24 Hour Psycho Back and Forth and To and Fro, 2010 Rodney Graham Fishing on a Jetty, 2000 Johan Grimonprez Looking for Alfred, 2005 Double Take, 2009 Eva Grübinger Ravenous, 2006 Martijn Hendriks Untitled (Give Us Today Our Daily Terror), 2008 Pierre Huyghe Remake, 1994–95 Isabelle Inghilleri Theme Park, 2007 Holly King Place of Desire, 1989 Peter Kogler Tunnel, 1999 Wago Kreider Between Two Deaths, 2006 Chris Lane, Nick Haeffner, Tony Cryer, and Che Guevara John ReConstructed, 2005 ReMixed, 2005 RePlayed, 2005 ReVisited, 2005 Les LeVeque 2 Spellbound, 1999 4 Vertigo, 2000 Mark Lewis Rear Projection: Molly Parker, 2006 Nathan Phillips Square, A Winter’s Night, Skating, 2009 Carlos Lobo Imaginary Film Set #5, 2007 Christian Marclay Vertigo: Soundtrack for an Exhibition, 1990 Chris Marker La Jetée, 1962 158 Appendix Sans Soleil, 1983 Immemory, 1997 David McDermott and Peter McGough I Want You So, 1966, 2008 Janice McNab The Bates Motel Tour, 2003 Paul Pfeiffer Self-Portrait as Fountain, 2000 Daniel Pitín Birds, 2004 Henry Plenge Jakobsen Shower, 1998 David Raybould and Richard Stevens ReViewed, 2005 David Reed Judy’s Bedroom, 1992 Scottie’s Bedroom, 1994 Judy’s Bedroom, 2005 The Kiss, 2005 Scottie’s Bedroom, 2005 Anne Robinson ReTurning, 2005 Benjamin Samuel Hitchcock30, 2011 Cindy Sherman, Untitled Film Stills, 1977–80 David Sherry Psycho Birds, 2003 Souli Spiropoulou ReFramed 1 . inVertEgo, 2005 Rea Tajiri Hitchcock Trilogy, 1987 Palle Torsson Evil Interiors: Psycho, 2003 Salla Tykkä Zoo, 2006 Robert Whitman Shower, 1964 Notes Introduction Alfred and the Art World 1. Lynne Cooke, “Through a Glass, Darkly: From Autonomous Artwork to Environmental Spectacle, from Spectator to Specter—Robert Whitman’s Art Practice in the 1960s,” in Robert Whitman: Playback, ed. Lynne Cooke, Karen Kelly, and Bettina Funcke (New York: DIA Art Foundation, 2003), 66. 2. Ibid., 66. 3. Though Whitman himself never explicitly names the film in the context of discussions about his Cinema Pieces, it is not much of a stretch to assume that, as someone creatively invested in film in the early 1960s, he might have seen Psycho during its initial theatrical release or, at the very least, encountered promotional materials or subsequent news articles about its controversies. But, even if he had not, this does not detract from the fact that Shower allows us entry into discussions and analyses about Hitchcock’s film. 4. I will consider RePossessed in more detail in the conclusion to this study. 5. See also, Steven Jacobs, The Wrong House: The Architecture of Alfred Hitchcock (Rotterdam: 010 Publishers, 2007). 6. Chris Dercon, “Gleaning the Future from the Gallery Floor,” Senses of Cinema 28 (September–October 2003): n.p. Accessed October 27, 2009. http://sensesofcinema.com/2003/28/gleaning_the_future/. 7. See, for example, Rudolph E. Kuenzli, Dada and Surrealist Film (Cambridge, MA: MIT Press, 1996); and Angela Dalle Vacche, ed. The Visual Turn: Classical Film Theory and Art History (New Brunswick, NJ: Rutgers University Press, 2003). 8. For more on the “filmic” nature of Frank’s photography, see Ann Sass, “Robert Frank and the Filmic Photograph,” History of Photography 22,3 (Autumn 1998): 247–53. 9. For an extended history of this, see Haidee Wasson, Museum Movies: The Museum of Modern Art and the Birth of Art Cinema (Berkeley: University of California Press, 2005). See, too, David Campany, ed. The Cinematic (Cambridge, MA: MIT Press, 2007); and Tanya Leighton, ed. Art and the Moving Image: A Critical Reader (London: Tate Publishing, 2008). 160 Notes 10. For a list of sources on this subject, see Christine Sprengler, “Cinema and the Visual Arts,” in Oxford Bibliographies in Cinema and Media Studies, ed. Krin Gabbard (New York: Oxford University Press, 2012). 11. Jonathan Walley, “The Material of Film and the Idea of Cinema: Contrasting Practices in Sixties and Seventies Avant-Garde Film,” October 103 (Winter 2003): 15–30. 12. For more on this and other paracinematic works by Eros, see Bradley Eros, “There Will Be Projections in All Dimensions,” Millennium Film Journal 43/44 (Summer 2005): 63–100. 13. A “level editor” is a type of software used to design video game worlds. It is sometimes released to the public for download, enabling fans to create additional levels of play in their favorite games. 14. This question has only recently started to receive some attention in insightful essays by Steven Jacobs and Erika Balsom. See Steven Jacobs, “The Video That Knew Too Much: Hitchcock, Contemporary Art and Post-Cinema,” in Framing Pictures: Film and the Visual Arts (Edinburgh: Edinburgh University Press, 2011); and Erika Balsom, “Dial ‘M’ for Museum: The Hitchcock of Contemporary Art,” Hitchcock Annual 17 (2011): 129–67. Although scholarship on individual works or artists invested in Hitchcock has been published over the years, Jacobs and Balsom’s essays (along with Stéphane Aquin’s contribution to the Fatal Coincidences catalog) are the only texts in English to deal with artistic responses to Hitchcock in general and thus provide commentary on this phenomenon as a whole. See Stéphane Aquin, “Hitchcock and Contemporary Art,” in Hitchcock and Art: Fatal Coincidences, ed. Dominique Païni and Guy Cogeval (Montreal: Montreal Museum of Fine Arts, 2001), 173–78. An essay by Ursula Frohne, “Anamorphosen des Kinos: Hitchcocks Filme im Spiegel zeitgenössicher Videoinstallationen,” also appears in a German collection of essays that survey the various connections between Hitchcock and the arts, not only broadly conceived to include other practices such as dance, architecture, and theater but also more specifically in terms of Hitchcock’s own integration of artistic traditions in his films. Frohne focuses specifi- cally on a series works by Douglas Gordon and also includes mention of Grimonprez’s two films. See, Henry Keazor, ed. Hitchcock und die Künste (Marburg: Schüren, 2013). 15. See Balsom, “Dial ‘M’ for Museum,” 139–43. 16. Ibid., 137–39. 17. Other works about Vertigo include Pierre Bismuth, Respect the Dead, Vertigo (2001) and Wago Kreider, Between Two Deaths (2006). Susan Felleman offers a compelling analysis of Kreider’s work in “Remembering, Repeating and Working Through: Three Screen Memories by Wago Kreider,” in Film Trilogies: New Critical Approaches, ed. Claire Perkins and Constantine Verevis (New York: Palgrave Macmillan, 2012), 211–25. 18. For example, North by Northwest is explored in Laurent Fiévet’s Portrait a l’Helice (2007) and J. Tobias Anderson’s 879 (1998), 879 Color (2002), and Prairie Stop, Highway 41 (2004). Works dedicated to Psycho include Notes 161 Laurent Fiévet’s Continuations of Hitchcock: De X Construction (2003), Janice McNab’s The Bates Motel Tour (2003), Carlos Lobo’s Imaginary Film Set #5 (2007), McDermott and McGough’s I Want You So, 1966 (2008), and an image from Brice Dellsperger’s Body Double Series (1995–). Works dedicated to The Birds include Daniel Pitín’s Birds (2004), Eva Grübinger’s Ravenous (2006), Philippe Decrauzat’s Afterbirds (2008), and Martijn Hendriks’s Untitled (Give Us Today Our Daily Terror) (2008). And, as the title suggests, David Sherry’s Psycho Birds (2003) con- flates the two films. Anderson’s A North Window for the Man with Vertigo (2004) includes reference to most of these popular films. This is not to suggest that Hitchcock’s other films are neglected. Forty of them consti- tute Christoph Girardet and Matthias Müller’s The Phoenix Tapes (1999). Rodney Graham cites To Catch a Thief (1955) in Fishing on a Jetty (2006) while Laurent Fiévet’s Lovely Memories (2007) deals with Frenzy (1972). There is also Steven Campbell’s Strangers on a Train (2003) and Daniel Canogar’s Dial “M” for Murder (2009). Family Plot (1976) is included in Jean Breschand’s sound installation, Don’t They Stop Migrating (2007). 19. Jacobs, Framing Pictures, 156. 20. Robert Kapsis, “The Historical Reception of Hitchcock’s Marnie,” Journal of Film and Video 40,3 (Summer 1988): 72. 21. Indeed, as we shall see throughout this study, it is common to equate Hitchcock with classical Hollywood cinema, to see him and his films as emblematic of this era.