This publication is produced to accompany Lucy Raven’s first solo exhibition in a UK public institution, Edge of Tomorrow at the Serpentine Gallery (8 December 2016 – 12 February 2017).
Conceived in parallel to the exhibition, this book is a direct continuation of Raven’s working methods through its collaborative format and multifaceted structure. It brings together a series of commissioned texts, visual essays, stills, and film notes, which examine time and the image from a multitude of perspectives. The book also contains film notes to accompany a series of weekly film screenings curated by Raven, which showcase classical Hollywood and independent feature films that have inspired her artistic trajectory.
Lucy Raven
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Lucy Raven's (b. 1977, Tucson, Arizona) work focuses on the marginal spaces at the edges of image production, what happens behind the camera or between the frames of a film or animation. She follows the production of copper wire from an open pit mine in the American West to a smelter in southern China in China Town (2009). She observes post-production technicians converting Hollywood films to 3D in Chennai, India, linking the digitally created illusion of depth to ancient Indian bas-reliefs in The Deccan Trap (2015). She describes spaces and people on the outskirts of Kingston, New York in the hand-drawn animation I Felt As If I Had Actually Been To China (2007). This shift of focus from the image to its production encourages interrogation of the kind of imagery that has become all too familiar.
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