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Video art

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Title: Video art  
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Video art

Video art is a type of art which relies on moving pictures and comprises video and/or audio data. (It should not however be confused with television production or experimental film.) Video art came into existence during the early 1960s and early 1970s as the new technology became available outside corporate broadcasting and is still practiced and has given rise to the use of video installations. Video art can take many forms: recordings that are broadcast, viewed in galleries or other venues, or distributed as video tapes or DVD discs; sculptural installations, which may incorporate one or more television sets or video monitors, displaying ‘live’ or recorded images and sound; and performances in which video representations are included.[1]

Video art is named after the original analog video tape, which was most commonly used in the form's early years, but before that artists had already been working in film. With the advent of digital technology (Hard Disk, CD-ROM, DVD, and solid state) this superseded tape but the electronic video signal remains the carrier of moving image work. Despite obvious parallels and relationships, video art is not experimental film.

One of the key differences between video art and theatrical cinema is that video art does not necessarily rely on many of the conventions that define theatrical cinema. Video art may not employ the use of

[1]

  1. ^ Hartney, Mick. "Video art", MoMA, accessed January 31, 2011
  2. ^ , 1958Black Room CycleWolf Vostell,
  3. ^ , 19636 TV Dé-coll/ageWolf Vostell,
  4. ^ Nam June Paik in Wuppertal, 1963
  5. ^ Laura Cumming (December 19, 2010), Nam June Paik – review Nam June Paik The Guardian.
  6. ^ webnetmuseum
  7. ^ http://www.eai.org/title.htm?id=6472

References

  • VIMEO, a video-sharing site that specializes in video art

External links

  • Making Video 'In' - The Contested Ground of Alternative Video On The West Coast Edited by Jennifer Abbott (Satellite Video Exchange Society, 2000).
  • Videography: Video Media as Art and Culture by Sean Cubitt (MacMillan, 1993).
  • A History of Experimental Film and Video by AL Rees (British Film Institute, 1999).
  • New Media in Late 20th-Century Art by Michael Rush (Thames & Hudson, 1999).
  • Mirror Machine: Video and Identity, edited by Janine Marchessault (Toronto: YYZ Books, 1995).
  • Video Culture: A Critical Investigation, edited by John G. Hanhardt (Visual Studies Workshop Press, 1986).
  • Video Art: A Guided Tour by Catherine Elwes (I.B. Tauris, 2004).
  • A History of Video Art by Chris Meigh-Andrews (Berg, 2006)
  • Diverse Practices: A Critical Reader on British Video Art edited by Julia Knight (University of Luton/Arts Council England, 1996) [1]
  • ARTFORUM FEB 1993 "Travels In The New Flesh" by Howard Hampton (Printed by ARTFORUM INTERNATIONAL 1993)
  • Resolutions: Contemporary Video Practices', (eds. Renov, Michael & Erika Suderburg) (London, Minneapolis: University of Minnesota Press,1996).
  • Expanded Cinema by Gene Youngblood (New York: E.P. Dutton & Company, 1970).
  • The Problematic of Video Art in the Museum 1968-1990 by Cyrus Manasseh (Cambria Press, 2009).
  • "First Electronic Art Show" by (Niranjan Rajah & Hasnul J Saidon) (National Art Gallery, Kuala Lumpur, 1997)
  • "Expanded Cinema", (David Curtis, Al Rees, Duncan White, and Steven Ball, eds), Tate Publishing, 2011 [2]
  • "Retrospektiv-Film-org videokunst| Norge 1960-90". Edited by Farhad Kalantary & Linn Lervik. Atopia Stiftelse, Oslo, (April 2011). [3]
  • Experimental Film and Video, Jackie Hatfield, Editor. (John Libbey Publishing, 2006; distributed in North America by Indiana University Press) [4]
  • " REWIND: British Artists' Video in the 1970s & 1980s", (Sean Cubitt, and Stephen Partridge, eds), John Libbey Publishing, 2012. [5]
  • Reaching Audiences: Distribution and Promotion of Alternative Moving Image by Julia Knight and Peter Thomas (Intellect, 2011) [6]
  • Wulf Herzogenrath: Videokunst der 60er Jahre in Deutschland, Kunsthalle Bremen, 2006, (No ISBN).
  • Rudolf Frieling & Wulf Herzogenrath: 40jahrevideokunst.de: Digitales Erbe: Videokunst in Deutschland von 1963 bis heute, Hatje Cantz Verlag, 2006, ISBN 978-3-7757-1717-5.
  • NBK Band 4. Time Pieces. Videokunst seit 1963. Verlag der Buchhandlung Walther König, Köln, 2013, ISBN 978-3-86335-074-1.

Further reading

See also

Notable video art organizations

Emerging in the 1970s, Bill Viola, Nan Hoover (USA, NL, DE - died in 2008), and Gary Hill (USA) continue as celebrated video artists. Matthew Barney, the creator of the Cremaster Cycle, is another well-known American video artist. Other contemporary video artists of note include Eija-Liisa Ahtila(Finland), Arambilet (Dominican Republic – Spain), Fred Forest (France), David Hall (UK), Tony Oursler (USA), Mary Lucier (USA), Paul Pfeiffer, Sadie Benning, Paul Chan, Eve Sussman, Paul Kuniholm Pauper and Miranda July; Eija-Liisa Ahtila (Finland), Kirill Preobrazhenskiy (Russia), Pipilotti Rist (Switzerland); Surekha (India);Stefano Pasquini (Italy); Shaun Wilson (Australia); Stan Douglas (Canada); Douglas Gordon (UK); Olga Kisseleva (Russia); Anne-Mie van Kerckhoven (Belgium); Martin Arnold (Austria); Matthias Müller (Germany), Heiko Daxl (Germany); Gillian Wearing (UK); Stefano Cagol (Italy); Helene Black (Cyprus); Shirin Neshat (Iran/USA); Aernout Mik (Netherlands), Jordi Colomer (Spain/France), Sergei Shutov (Russia), and Walid Raad (Lebanon/USA).

The digital video "revolution" of the 1990s has given wide access to sophisticated editing and control technology, allowing many artists to work with video and to create interactive installations based on video. Some examples of recent trends in video art include entirely digitally rendered environments created with no camera and video that responds to the movements of the viewer or other elements of the environment. The internet has also been used to allow control of video in installations from the World Wide Web or from remote locations.

Although it continues to be produced, it is represented by two varieties: single-channel and installation. Single-channel works are much closer to the conventional idea of television, or cinema screen: a video is screened, projected or shown as a single image, Installation works involve either an environment, several distinct pieces of video presented separately, or any combination of video with traditional media such as sculpture. Installation video is the most common form of video art today. Sometimes it is combined with other media and is often subsumed by the greater whole of an installation or performance or New media art. Contemporary contributions are being produced at the crossroads of other disciplines such as installation, architecture, design, sculpture, electronic art, VJ (video performance artist) and digital art or other documentative aspects of artistic practice.

Video art today

Notable pioneering video artists also emerged more or less simultaneously in Europe and elsewhere with work by Nan Hoover (Netherlands), Domingo Sarrey (Spain), Juan Downey (Chile), Wolf Vostell (Germany), Slobodan Pajic (France), Wolf Kahlen (Germany), Peter Weibel (Austria), David Hall (UK), Paul Wong (Artist) (Canada), Lisa Steele (Canada), Colin Campbell (Canada), Miroslaw Rogala (Poland), Danny Matthys, Chantal Akerman (Belgium), Akram Zaatari (Lebanon), Mireille Astore (Lebanon/Australia) and others.

Many of the early prominent video artists were those involved with concurrent movements in conceptual art, performance, and experimental film. These include Americans Vito Acconci, Valie Export, John Baldessari, Peter Campus, Doris Totten Chase, Norman Cowie, Dimitri Devyatkin, Dan Graham, Joan Jonas, Bruce Nauman, Nam June Paik, Bill Viola, Shigeko Kubota, Martha Rosler, William Wegman, Gary Hill, and many others. There were also those such as Steina and Woody Vasulka who were interested in the formal qualities of video and employed video synthesizers to create abstract works.

Prominent video artists

Meanwhile in the UK David Hall's "TV Interruptions" (1971) were transmitted intentionally unannounced and uncredited on Scottish TV, the first artist interventions on British television.

Video art became immensely popular in New York City. The Kitchen was founded by Steina and Woody Vasulka assisted by video director Dimitri Devyatkin and Shridhar Bapat in 1971. Video art and electronic music were showcased to an eager public.

At the USA's San Jose State TV studios in 1970, Willoughby Sharp began the “Videoviews” series of videotaped dialogues with artists. The “Videoviews” series consists of Sharps’ dialogues with Bruce Nauman (1970), Joseph Beuys (1972), Vito Acconci (1973), Chris Burden (1973), Lowell Darling (1974), and Dennis Oppenheim (1974). Also in 1970, Sharp curated “Body Works,” an exhibition of video works by Vito Acconci, Terry Fox, Richard Serra, Keith Sonnier, Dennis Oppenheim and William Wegman which was presented at Tom Marioni's Museum of Conceptual Art, San Francisco, California.

Valie Export's groundbreaking video piece, "Facing a Family" (1971) was one of the first instances of television intervention and broadcasting video art. The video, originally broadcast on the Austrian television program "Kontakte" February 2, 1971,[11] shows a bourgeois Austrian family watching TV while eating dinner. When other middle-class families watched this program on TV, the television would be holding a mirror up to their experience and complicating the relationship between subject, spectator, and television.[7]

The two examples mentioned above both made use of "low tech tricks" to produce early video art works. American artist Ira Schneider and Frank Gillette. Wipe Cycle was first exhibited at the Howard Wise Gallery in New York in 1969 as part of an exhibition titled "TV as a Creative Medium". An installation of nine television screens, Wipe Cycle combined live images of gallery visitors, found footage from commercial television, and shots from pre-recorded tapes. The material was alternated from one monitor to the next in an elaborate choreography.

Prior to the introduction of this new technology, moving image production was only available to the consumer (or the artist for that matter) by way of eight or sixteen millimeter film, but did not provide the instant playback that video tape technologies offered. Consequently, many artists found video more appealing than film, even more so when the greater accessibility was coupled with technologies which could edit or modify the video image.

Nam June Paik had his first exhibition with manipulated TV in 1963 at the Gallery Parnass in Wuppertal.[4] Video art is often said to have begun when Nam June Paik used his new Sony Portapak to shoot footage of Pope Paul VI's procession through New York City in the autumn of 1965 (although the Sony Rover Portapak was not available until 1967, so Paik clearly used a different machine).[5] That same day, across town in a Greenwich Village cafe, Paik played the tapes and video art was born. The French artist Fred Forest has also used a Sony Portapak since 1967. Both these claims are however often rigorously disputed because the first Sony Portapak, the Videorover did not become commercially available until 1967, first in the US (Fred Forest does not contradict this, saying it was provided to him by the manufacturers[6]) and that Andy Warhol is credited with showing underground video art mere weeks before Paik's papal procession screening, but here probably made on a pre-portable mains deck.

In 1958 Wolf Vostell becomes the first artist who incorporates a television set into one of his works in the installation Black Room Cycle.[2] Transmigracion 1-3, 1958, are also early works with incorpareted television. In 1963 Wolf Vostell exhibited the installation 6 TV Dé-coll/age[3] at the Smolin Gallery in New York. Also in 1963 Wolf Vostell made the video Sun in your head.

History of video art

  • History of video art 1
  • Prominent video artists 2
  • Video art today 3
  • Notable video art organizations 4
  • See also 5
  • Further reading 6
  • External links 7
  • References 8

Contents

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