MARK WEBBER
\nBibliography
\n<\/b><\/p>\n
Books<\/u><\/strong><\/p>\n I’m With Pulp, Are You?<\/em>, Mark Webber, Los Angeles: Hat and Beard Press, 2024<\/p>\n The Afterimage Reader<\/em>, Mark Webber (ed.), London: The Visible Press, 2022<\/p>\n Slow Writing: Thom Andersen on Cinema<\/em>, Mark Webber (ed.), London: The Visible Press, 2017<\/p>\n Shoot Shoot Shoot: The London Film-Makers’ Co-operative 1966-76<\/em>, Mark Webber, London: LUX, 2016<\/p>\n Flare Out: Aesthetics 1966-2016<\/em>, Peter Gidal & Mark Webber (eds.), London: The Visible Press, 2016<\/p>\n Film as Film: The Collected Writings of Gregory J. Markopoulos<\/em>, Mark Webber (ed.), London: The Visible Press, 2014<\/p>\n Two Films by Owen Land<\/em>, Mark Webber (ed.), London: LUX \/ Vienna: \u00d6sterreichisches Filmmuseum, 2004<\/p>\n Book Chapters, Exhibition Texts, Catalogues<\/u><\/strong><\/p>\n \u201cCharlemagne Palestine interviewed by Mark Webber, 1998\u201d, Charlemagne Palestine<\/em>, Marie Canet (ed.), Dijon: Les Presses du R\u00e9el, (forthcoming)<\/p>\n \u201cWerner von Muzenbecher\u201d, Werner von Mutzenbecher: Film is a Mystery<\/em>, Paris: Re:Voir, 2021<\/p>\n \u201cDust (in 3 Particles) for Laure Prouvost\u201d, Legsicon: Laure Prouvost<\/em>, Nav Haq (ed.), London: Book Works, 2019<\/p>\n \u201cGuy Sherwin on Man with Mirror<\/em>\u201d, Punto de Vista festival catalogue, 2019<\/p>\n \u201cImage, Beauty and Association: A Solemn Pause<\/em> Considered\u201d, Kino der Zukunft. Gregory J. Markopoulos<\/em>, Markus Klammer, Maja Naef (eds.), M\u00fcnchen: Wilhelm Fink Verlag, 2017<\/p>\n “Everything’s Ethnographic: Chick Strand interviewed by Mark Webber”, Chick Strand: Soft Fictions<\/em>, London: Tate Modern, 2015<\/p>\n \u201cAnnette Michelson by Mark Webber\u201d, Speaking Directly: Oral Histories of the Moving Image<\/em>, Federico Windhausen (ed.), San Francisco: SF Cinematheque, 2014<\/p>\n \u201cNon-Moving Movies: The Static Films of John Latham\u201d, John Latham Films 1960-1971<\/em>, London: Lisson Gallery \/ LUX, 2010<\/p>\n \u201cPoints of Departure\u201d, Tony Conrad<\/em>, London: Tate Modern, 2008<\/p>\n \u201cRobert Beavers\u201d, Aurora 2008: The Infinite Measure<\/em>, Adam Pugh (ed.), Norwich: Aurora, 2008<\/p>\n \u201cTo the Winged Distance: Films by Robert Beavers\u201d, Robert Beavers<\/em>, London: Tate Modern, 2007<\/p>\n \u201cThe London Film-Makers\u2019 Co-operative\u201d, Shoot Shoot Shoot<\/em>, Paris: Re:Voir \/ London: LUX, 2006<\/p>\n \u201cRobert Nelson\u201d, Festivalkatalog 52<\/em>, Oberhausen: Internationale Kurzfilmtage,<\/em> 2006<\/p>\n \u201cLogical Facades\u201d, Reverence: The Films of<\/em> Owen Land<\/em>, New York: Whitney Museum of American Art, 2005<\/p>\n \u201cTrue Hart Confession\u201d, Independent Film Show 2nd Edition<\/em>, Napoli: EM Arts, 2002<\/p>\n \u201cCinematic Duplicity: The Twin Worlds of Larry Jordan\u201d Festivalkatalog 47<\/em>, Oberhausen: Internationale Kurzfilmtage,<\/em> 2001<\/p>\n \u201cWho was Antony Balch\u201d, Genius and Junkie: Burroughs in Britain<\/em>, London: Tate Britain, 2001<\/p>\n \u201cExcerpts from Taped Conversations between Michel Auder and Mark Webber\u201d, Michel Auder<\/em>, Luneburg: Halle f\u00fcr Kunst, 1999<\/p>\n \u201cGregory Markopoulos\u201d, 6th International Istanbul Biennial<\/em>, Istanbul Foundation for Culture and Arts, 1999.<\/p>\n Journals, Magazines, Newspapers<\/u><\/strong><\/p>\n \u201cJonas Mekas: A Dance with Fred Astaire\u201d (review), Sight & Sound<\/em>, Vol. 28, No. 1, January 2018<\/p>\n \u201cOwen Land, in memoriam\u201d, Sight & Sound<\/em>, Vol. 22, No. 10, October 2012<\/p>\n \u201cOwen Land (formerly known as George Landow) Obituary\u201d, The Guardian<\/em>, 21 August 2011<\/p>\n \u201cTreasures IV American Avant-Garde Film 1947-1986\u201d (review), LUX website, 27 May 2009<\/p>\n \u201cKen Jacobs: A Matter of Life and Depth\u201d, The Guardian<\/em>, 28 November 2008<\/p>\n \u201cKen Jacobs talks to Mark Webber\u201d, Tank<\/em>, Vol. 5, No. 5, October 2008<\/p>\n \u201cA History of Artists\u2019 Film in Britain\u201d (review), Frieze<\/em>, Issue 106, April 2007<\/p>\n \u201cMorgan Fisher: Escape from the Filmic Bermuda Triangle\u201d, Tate Etc<\/em>., No. 5 Autumn 2005<\/p>\n \u201cThe Filmmaker that Rises to the Surface of Clarified Butter\u201d (with George Clark), Vertigo<\/em>, Vol. 2, No. 8, Spring-Summer 2005<\/p>\n \u201cEt In Acadia Ego\u201d, Frieze<\/em>, Issue 86, October 2004<\/p>\n \u201cX-Screen: Film Installation and Actions of the \u201960s and \u201970s (review), Frieze<\/em>, Issue 83, May 2004<\/p>\n \u201cCounting the Waves: A Summary of Activity\u201d, Senses of Cinema website, October 2003<\/p>\n \u201cShoot Shoot Shoot\u201d (online tour), LuxOnline website, 2003<\/p>\n \u201cA Snail\u2019s Trail in the Moonlight\u201d, Vertigo<\/em>, Vol. 2, No. 5, Summer 2003<\/p>\n \u201cHollywood: The Avant-Garde Years\u201d, The Guardian<\/em>, 13 June 2003<\/p>\n \u201cSilkscreening Times\u201d, The Guardian<\/em>, 2 February 2002<\/p>\n \u201cLaurel and Hardy Ride Again\u201d, The Guardian<\/em>, 4 November 2000<\/p>\n \u201cDream Encounters: Interview with La Monte Young\u201d, The Wire,<\/em> No. 178, December 1998<\/p>\n \u201cLooking for Mr. Godbear. Charlemagne Palestine Interviewed\u201d, Resonance<\/em>, Vol. 7, No. 1, 1998<\/p>\n \u201cRock ‘n’ Roll Mutha: Moe Tucker and Sterling Morrison Interview\u201d, Orange Magazine<\/em>, No. 1, March 1992<\/p>\n","protected":false},"excerpt":{"rendered":" MARK WEBBER Bibliography Books I’m With Pulp, Are You?, Mark Webber, Los Angeles: Hat and Beard Press, 2024 The Afterimage Reader, Mark Webber (ed.), London: The Visible Press, 2022 Slow Writing: Thom Andersen on Cinema, Mark Webber (ed.), London: The Visible Press, 2017 Shoot Shoot Shoot: The London Film-Makers’ Co-operative 1966-76, Mark Webber, London: LUX, […]<\/p>\n","protected":false},"author":4,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0,"footnotes":""},"class_list":["post-2332","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/pages\/2332","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/comments?post=2332"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/pages\/2332\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=2332"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}