Figure 1
The logo of UNESCO’s campaign to support international distribution and exhibition of educational films, art films included. Source: Anon., “UNESCO Helps Educational Films Over Frontier Barriers,” UNESCO Courier III, no.2 (1950): 2. https://unesdoc.unesco.org/ark:/48223/pf0000074977
Figure 2
An example of an Art Film Tour itinerary from the first week of February 1954, with the mobile cinema alternating between educational venues (e.g. Reigate School of Art) and art galleries (e.g. Southampton) and the average curated programme consisting of five short films. Source: Arts Council of Great Britain Archive.
Figure 3
Rendering the invisible visible: A juxtaposition of indicative screen grabs from Jackson Pollock 51 and Henry Moore, where each artist’s body fuses into the materiality of the creative process. Both artists perform for the camera and engage in newly adopted techniques: Pollock painting on glass, making his ‘dripping’ technique visible; Moore working on the plaster model for what will become the bronze sculpture Reclining Figure Festival (1951), a work considered as emblematic for his shift from direct carving to modelling. For more information on how to access the films online, see endnote 35.
Figure 4
The Art Film Tour’s distribution catalogues became a key feature of the performance context, provided for free and carefully edited and illustrated. A still from Lucianno Emmer’s Picasso (1954) featured on the 1958-59 catalogue’s cover, because of its popularity with audiences.