Movie-loving artists divide roughly into two groups, fans and users. The fans flock to films, or the nearest video rental store, for both respite and inspiration; they discuss and sometimes write about what they see with distinctive intelligence. Their numbers are legion; their apotheosis is probably Manny Farber, the artist who had a distinguished career as a film critic before turning to painting full time.
The users are such impassioned, if not addicted, cinephiles that movies become the central component of their art. Films are not just inspiration for these artists; they are raw material that can be appropriated, manipulated and reshaped into another work of art, with their names on the credit line.
[…] Still, “CUT” brings needed curatorial clarity to an expanding genre that is challenging to survey. The catalog provides an expansive backdrop by flanking Mr. Basilico’s lucid discussion of the works with essays by Rob Yeo, on the history of film appropriation in underground film (starting with Joseph Cornell), and by Lawrence Lessig, on the creative chill that recent changes in copyright law are bringing to the arts.
You come away from this show with a new sense of film as a found object; as an immense reservoir of untapped form and feeling; and as a highly charged raw material by which artists can celebrate, examine and stave off the deluge of images bearing down on us from all sides.