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The Problematic of Video Art in the Museum 19681990 Pdf

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Art form using video technology

Video fine art is an fine art grade which relies on using video technology equally a visual and audio medium. Video art emerged during the late 1960s as new consumer video technology such as video tape recorders became available outside corporate broadcasting. Video art can take many forms: recordings that are broadcast; installations viewed in galleries or museums; works streamed online, distributed as video tapes, or DVDs; and performances which may comprise one or more television sets, video monitors, and projections, displaying live or recorded images and sounds.[one]

Video fine art is named for the original analog video tape, which was the virtually commonly used recording applied science in much of the form history into the 1990s. With the appearance of digital recording equipment, many artists began to explore digital technology equally a new way of expression.

One of the key differences between video art and theatrical movie theatre is that video art does not necessarily rely on many of the conventions that define theatrical movie theatre. Video fine art may not use the use of actors, may contain no dialogue, may take no discernible narrative or plot, and may not adhere to whatever of the other conventions that generally ascertain move pictures equally entertainment. This distinction besides distinguishes video art from movie theatre's subcategories such equally avant garde cinema, curt films, or experimental film.

Early history [edit]

Nam June Paik, a Korean-American artist who studied in Deutschland, is widely regarded as a pioneer in video art.[2] [iii] In March 1963 Nam June Paik showed at the Galerie Parnass in Wuppertal the Exposition of Music – Electronic Television set.[4] [v] In May 1963 Wolf Vostell showed the installation 6 Goggle box Dé-coll/age at the Smolin Gallery in New York and created the video Sun in your head in Cologne. Originally Sun in your caput was made on 16mm motion-picture show and transferred 1967 to videotape.[6] [7] [eight]

Video art is oftentimes said to have begun when Paik used his new Sony Portapak to shoot footage of Pope Paul Half-dozen'southward procession through New York City in the autumn of 1965[9] Later that same day, across boondocks in a Greenwich Hamlet cafe, Paik played the tapes and video art was born.

Prior to the introduction of consumer video equipment, moving image production was only bachelor non-commercially via 8mm picture and 16mm picture show. After the Portapak'due south introduction and its subsequent update every few years, many artists began exploring the new technology.

Many of the early on prominent video artists were those involved with concurrent movements in conceptual fine art, performance, and experimental movie. These include Americans Vito Acconci, Valie Export, John Baldessari, Peter Campus, Doris Totten Chase, Maureen Connor, Norman Cowie, Dimitri Devyatkin, Frank Gillette, Dan Graham, Gary Loma, Joan Jonas, Bruce Nauman, Nam June Paik, Bill Viola, Shigeko Kubota, Martha Rosler, William Wegman, 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. Kate Craig,[10] Vera Frenkel[eleven] and Michael Snow[12] were important to the development of video art in Canada.

In the 1970s [edit]

Much video fine art in the medium's heyday experimented formally with the limitations of the video format. For example, American artist Peter Campus' Double Vision combined the video signals from two Sony Portapaks through an electronic mixer, resulting in a distorted and radically anomalous prototype. Some other representative piece, Joan Jonas' Vertical Roll, involved recording previously-recorded material of Jonas dancing while playing the videos back on a television, resulting in a layered and complex representation of mediation.

A still from Jonas' 1972 video

Much video fine art in the U.s. was produced out of New York City, with The Kitchen, founded in 1972 by Steina and Woody Vasulka (and assisted past video director Dimitri Devyatkin and Shridhar Bapat), serving as a nexus for many young artists. An early multi-aqueduct video fine art work (using several monitors or screens) was Wipe Cycle by Ira Schneider and Frank Gillette. Wipe Bicycle was beginning exhibited at the Howard Wise Gallery in New York in 1969 every bit part of an exhibition titled "TV every bit a Artistic Medium". An installation of 9 television screens, Wipe Cycle combined alive images of gallery visitors, plant footage from commercial television, and shots from pre-recorded tapes. The fabric was alternated from one monitor to the next in an elaborate choreography.


On the West coast, the San Jose State television studios in 1970, Willoughby Precipitous 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 past Vito Acconci, Terry Pull a fast one on, Richard Serra, Keith Sonnier, Dennis Oppenheim and William Wegman which was presented at Tom Marioni'south Museum of Conceptual Art, San Francisco, California.

In Europe, Valie Export'due south groundbreaking video piece, "Facing a Family" (1971) was i of the offset instances of telly intervention and broadcasting video art. The video, originally circulate on the Austrian television program "Kontakte" February 2, 1971,[11] shows a conservative Austrian family watching Goggle box while eating dinner, creating a mirroring outcome for many members of the audience who were doing the aforementioned thing. Export believed the television could complicate the human relationship between subject area, spectator, and telly.[xiii] [14] In the United Kingdom David Hall's "TV Interruptions" (1971) were transmitted intentionally unannounced and uncredited on Scottish Goggle box, the first artist interventions on British television receiver.

1980s-1990s [edit]

Every bit the prices of editing software decreased, the access the general public had to utilize these technologies increased. Video editing software became and so readily available that it inverse the way digital media artists and video artists interacted with the mediums. Different themes emerged and were explored in the artists work, such as interactivity and nonlinearity. Criticisms of the editing software focused on the freedom that was created for the artists through the engineering science, but not for the audition. Some artists combined physical and digital techniques to allow their audience to physically explore the digital piece of work. An example of this is Jeffrey Shaw'south "Legible Urban center" (1988–91). In this slice the "audience" rides a stationary bicycle through a virtual images of Manhattan, Amsterdam, and Karlsrule. The images change depending on the management of the cycle handles, and the speed of the pedaler. This created a unique virtual experience for every participant.

After 2000 [edit]

As technology and editing techniques have evolved since the emergence of video as an art course, artists have been able to experiment more with video art without using whatever of their ain content. Marco Brambilla'southward Civilization (2008) shows this technique. Brambilla attempts to make a video version of a collage, or a "video mural" [15] past combining various clips from movies, and editing them to portray sky and hell.[16]

There are artists today who accept changed the manner video fine art is perceived and viewed. In 2003, Kalup Linzy created Conversations Wit De Churen II: All My Churen, a soap opera satire that has been credited as creating the video and performance sub-genre[17] Although Linzy'southward work is genre defying his work has been a major contribution to the medium. Ryan Trecartin, and experimental young video-artist, uses color, editing techniques and bizarre interim to portray what The New Yorker calls "a cultural watershed".[18] [xix] Trecartin played with the portrayal of identity and ended up producing characters who "can be many people at the same fourth dimension".[18] When asked about his characters, Trecartin explained that he visualized that each person'southward identity was made up of "areas" and that they could all exist very different from each other and be expressed at different times.[xviii] Ryan Trecartin is an innovative artist who has been said to accept "changed the way we engage with the world and with one another"[nineteen] through video art. A series of videos fabricated by Trecartin titled I-BE-AREA displayed this, one example is I-BE-AREA (Pasta and Wendy Thousand-PEGgy), which was made public in 2008, which portrays a character named Wendy who behaves erratically. When asked near his characters, Trecartin explained that he visualized that each person's identity was made upwardly of "areas" and that they could all be very different from each other and be expressed at unlike times.[18] Ryan Trecartin is an innovative artist who has been said to have "changed the way nosotros appoint with the earth and with one another"[19] through video art. In 2008, New York Times Kingdom of the netherlands Cotter writes, 'A big difference betwixt his work and Mr. Trecartin'due south is in the degree of digital date. Mr. Trecartin goes wild with editing bells and whistles; Mr. Linzy does not. The plainness and occasional clunkiness of his video technique is ane reason the Braswell serial ends upwards touching in a way that Mr. Trecartin'south buzzed-up narratives rarely are. For all their raunchy hilarity Mr. Linzy'due south characters are more than cartoons; "All My Churen" is a family-values story that has a lot to do with life.[xx]

Performance art and video fine art [edit]

Video art as a medium tin can also be combined with other forms of artistic expression such as Performance art. This combination can besides be referred to every bit "media and functioning art" [21] when artists "intermission the mold of video and picture show and broaden the boundaries of art".[21] With increased power for artists to obtain video cameras, performance fine art started being documented and shared across large amounts of audiences.[22] Artists such as Marina Abramovic and Ulay experimented with video taping their performances in the 1970s and the 1980s. In a piece titled "Rest free energy" (1980) both Ulay and Marina suspended their weight so that they pulled back a bow and pointer aimed at her eye, Ulay held the arrow, and Marina the bow. The piece was 4:10 which Marina described as beingness "a performance about complete and total trust".[23]

Other artists who combined Video art with Functioning art used the camera every bit the audience. Kate Gilmore experimented with the positioning of the camera. In her video "Anything" (2006) she films her functioning slice every bit she is constantly trying the reach the camera which is staring downward at her. As the xiii-minute video goes on, she continues to tie together pieces of furniture while constantly attempting to achieve the photographic camera. Gilmore added an element of struggle to her art which is sometimes cocky-imposed,[24] in her video "My love is an anchor" (2004) she lets her foot dry out in cement before attempting to intermission costless on photographic camera.[25] Gilmore has said to take mimicked expression styles from the 1960s and 1970s with inspirations like Marina Abramovic every bit she adds extremism and struggle to her work.[26]

Some artists experimented with space when combining Video art and Functioning art. Ragnar Kjartannson, an Icelandic creative person, filmed an entire music video with 9 different artists, including himself, existence filmed in different rooms. All the artists could hear each other through a pair of headphones and then that they could play the vocal together, the piece was titled "The visitors" (2012).[27]

Some artists, such as Jaki Irvine and Victoria Fu take experimented with combining 16 mm film, 8 mm film and video to make utilize of the potential discontinuity between moving image, musical score and narrator to undermine any sense of linear narrative. [28]

Every bit an bookish subject field [edit]

Since 2000, video arts programs accept begun to sally among colleges and universities as a standalone bailiwick typically situated in relation to film and older broadcast curricula. Electric current models plant in universities like Northeastern and Syracuse show video arts offering baseline competencies in lighting, editing and photographic camera functioning. While these fundamentals tin can feed into and support existing picture or Tv set production areas, recent growth of entertainment media through CGI and other special furnishings situate skills like blitheness, motility graphics and figurer aided design as upper level courses in this emerging area.

Notable video fine art organizations [edit]

  • Ars Electronica Centre (AEC), Linz, Republic of austria
  • Edith-Russ-Haus for Media Fine art, Oldenburg, Germany
  • Electronic Arts Intermix, New York, NY
  • Experimental Television Center, New York
  • Goetz Collection, Munich, Germany
  • Imai – inter media art institute, Düsseldorf
  • Impakt Festival, Utrecht
  • Julia Stoschek Collection, Düsseldorf, Germany
  • Kunstmuseum Bonn, big video art drove
  • LA Freewaves is an experimental media fine art festival with video art, shorts and animation; exhibitions are in Los Angeles and online.
  • Lumen Eclipse – Harvard Foursquare, MA
  • LUX, London, UK
  • London Video Arts, London, UK
  • Neuer Berliner Kunstverein with its "Video-Forum" established in 1971 – Berlin, Deutschland
  • Perpetual art machine, New York
  • Raindance Foundation, New York
  • Souvenirs from Earth, Art Television Station on European Cable Networks (Paris, Cologne)
  • Vtape, Toronto, Canada
  • Videoart at Midnight, an artists' movie house projection, Berlin, Germany
  • Video Data Bank, Chicago, IL.
  • VIVO Media Arts Centre, Vancouver, Canada
  • ZKM Center for Art and Media Karlsruhe, Germany
  • Videobrasil, Associação Cultural Videobrasil, São Paulo, Brazil

See likewise [edit]

  • Artmedia
  • Experimental film
  • INFERMENTAL
  • Interactive film
  • List of video artists
  • Music video
  • Music visualization
  • New media art
  • Optical feedback
  • Real-time computer graphics
  • Scratch video
  • Single-channel video
  • Audio fine art
  • Video jockey
  • Video poetry
  • Video sculpture
  • Video synthesizer
  • Visual music
  • VJ (video performance artist)

References [edit]

  1. ^ Hartney, Mick. "Video art" Archived 2011-x-17 at the Wayback Machine, MoMA, accessed Jan 31, 2011
  2. ^ "Archived re-create" (PDF). Archived (PDF) from the original on 2016-03-04. Retrieved 2016-05-xvi . {{cite spider web}}: CS1 maint: archived re-create equally title (link)
  3. ^ Judkis, Maura (12 December 2012). "Nam June Paik at the Smithsonian American Art Museum opens Dec. xiii". washingtonpost.com. Archived from the original on 9 August 2017. Retrieved 9 May 2018.
  4. ^ Netz, Medien Kunst (9 May 2018). "Medien Kunst Netz - Exposition of Music – Electronic Television". www.medienkunstnetz.de. Archived from the original on nine Baronial 2017. Retrieved 9 May 2018.
  5. ^ Internet, Media Art (9 May 2018). "Media Art Net - Exhibition unknown". www.medienkunstnetz.de. Archived from the original on 9 August 2017. Retrieved 9 May 2018.
  6. ^ NBK Band 4. Time Pieces. Videokunst seit 1963. Verlag der Buchhandlung Walther König, Köln, 2013, ISBN 978-3-86335-074-1
  7. ^ Net, Media Art (9 May 2018). "Media Fine art Net - Vostell, Wolf: Idiot box Décollage". world wide web.medienkunstnetz.de. Archived from the original on 11 May 2012. Retrieved 9 May 2018.
  8. ^ Net, Media Art (9 May 2018). "Media Art Net - Vostell, Wolf: Sun in Your Head". www.medienkunstnetz.de. Archived from the original on viii October 2017. Retrieved ix May 2018.
  9. ^ Laura Cumming (Dec nineteen, 2010), Nam June Paik – review Archived 2016-11-26 at the Wayback Machine Nam June Paik The Guardian.
  10. ^ Marsh, James H (1985-01-01). The Canadian encyclopedia. Edmonton: Hurtig Publishers. ISBN088830269X. OCLC 12578727.
  11. ^ "Vera Frenkel: Archive Fevers - Canadian Art". Canadian Art. Archived from the original on 2016-10-22. Retrieved 2016-10-22 .
  12. ^ Elwes, Catherine (2006-04-26). Video Art, A Guided Bout: A Guided Tour. I.B.Tauris. ISBN9780857735959. Archived from the original on 2018-05-09.
  13. ^ "Electronic Arts Intermix: Facing a Family, Valie Consign". eai.org. Archived from the original on 2010-12-25.
  14. ^ Cavoulacos, Sophie (2021-12-21). "VALIE Consign's Facing a Family". Museum of Modern Art New York (MoMA) . Retrieved 2022-01-28 . {{cite web}}: CS1 maint: url-condition (link)
  15. ^ "Marco Brambilla: Civilization". Motionographer. 2009-03-16. Archived from the original on 2018-03-31. Retrieved 2018-03-03 .
  16. ^ "Culture (Hell and Heaven) by Marco Brambilla". www.seditionart.com. Archived from the original on 2018-03-31. Retrieved 2018-03-03 .
  17. ^ 'Theatre of the Self, Performing who you are'.
  18. ^ a b c d Tomkins, Calvin (2014-03-17). "Experimental People". The New Yorker. ISSN 0028-792X. Archived from the original on 2018-03-31. Retrieved 2018-03-30 .
  19. ^ a b c Solway, Diane. "What You Need to Know About Lizzie Fitch and Ryan Trecartin, the Artists Behind Kendall and Gigi'due south Due west Cover Story". W Magazine. Archived from the original on 2018-03-31. Retrieved 2018-03-30 .
  20. ^ Cotter, Holland. "Video Art Thinks Large: That's Showbiz". Retrieved 2018-08-28 .
  21. ^ a b "MoMA | Performing for the Camera". www.moma.org. Archived from the original on 2018-03-31. Retrieved 2018-03-03 .
  22. ^ "MoMA | Performance into Art". www.moma.org. Archived from the original on 2017-12-15. Retrieved 2018-03-03 .
  23. ^ "Museum of Modern Art | MoMA". world wide web.moma.org. Archived from the original on 2018-03-31. Retrieved 2018-03-02 .
  24. ^ "Kate Gilmore | LANDMARKS". landmarks.utexas.edu. 16 March 2015. Archived from the original on 2016-08-23. Retrieved 2018-03-02 .
  25. ^ "Break on Through". 2009-07-01. Archived from the original on 2018-03-xx. Retrieved 2018-03-02 .
  26. ^ "Kate Gilmore: Body of Work | MOCA Cleveland". mocacleveland.org. Archived from the original on 2018-03-twenty. Retrieved 2018-03-03 .
  27. ^ "Fine art Star Ragnar Kjartansson Moves People To Tears, Over And Over". NPR.org. Archived from the original on 2018-03-31. Retrieved 2018-03-02 .
  28. ^ "Jaki Irvine".

Further reading [edit]

  • Making Video 'In' - The Contested Ground of Culling Video On The West Declension Edited by Jennifer Abbott (Satellite Video Exchange Society, 2000).
  • Videography: Video Media as Art and Civilisation by Sean Cubitt (MacMillan, 1993).
  • A History of Experimental Film and Video past A. 50. Rees (British Film Constitute, 1999).
  • New Media in Late 20th-Century Art past Michael Rush (Thames & Hudson, 1999).
  • Mirror Auto: Video and Identity, edited by Janine Marchessault (Toronto: YYZ Books, 1995).
  • Sounding the Gallery: Video and the Rise of Art Music by Holly Rogers (New York: Oxford University Press, 2013).
  • Video Culture: A Disquisitional Investigation, edited by John Thousand. 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)
  • Various Practices: A Critical Reader on British Video Fine art edited by Julia Knight (Academy of Luton/Arts Council England, 1996)
  • ARTFORUM Feb 1993 "Travels In The New Flesh" by Howard Hampton (Printed by ARTFORUM INTERNATIONAL 1993)
  • Resolutions: Gimmicky Video Practices', (eds. Renov, Michael & Erika Suderburg) (London, Minneapolis: University of Minnesota Press,1996).
  • Expanded Cinema by Cistron Youngblood (New York: E.P. Dutton & Visitor, 1970).
  • The Problematic of Video Fine art in the Museum 1968-1990 by Cyrus Manasseh (Cambria Press, 2009).
  • "First Electronic Art Testify" by (Niranjan Rajah & Hasnul J Saidon) (National Fine art Gallery, Kuala Lumpur, 1997)
  • "Expanded Cinema", (David Curtis, A. L. Rees, Duncan White, and Steven Ball, eds), Tate Publishing, 2011
  • "Retrospektiv-Movie-org videokunst| Norge 1960-90". Edited past Farhad Kalantary & Linn Lervik. Atopia Stiftelse, Oslo, (Apr 2011).
  • Experimental Film and Video, Jackie Hatfield, Editor. (John Libbey Publishing, 2006; distributed in Northward America past Indiana University Printing)
  • "REWIND: British Artists' Video in the 1970s & 1980s", (Sean Cubitt, and Stephen Partridge, eds), John Libbey Publishing, 2012.
  • Reaching Audiences: Distribution and Promotion of Culling Moving Image past Julia Knight and Peter Thomas (Intellect, 2011)
  • Wulf Herzogenrath: Videokunst der 60er Jahre in Federal republic of germany, Kunsthalle Bremen, 2006, (No ISBN).
  • Rudolf Frieling & Wulf Herzogenrath: 40jahrevideokunst.de: Digitales Erbe: Videokunst in Germany von 1963 bis heute, Hatje Cantz Verlag, 2006, ISBN 978-3-7757-1717-five.
  • NBK Band 4. Time Pieces. Videokunst seit 1963. Verlag der Buchhandlung Walther König, Köln, 2013, ISBN 978-iii-86335-074-i.
  • Demolden Video Project: 2009-2014. Video Art Gallery, Santander, Spain, 2016, ISBN 978-84-16705-40-5.
  • Valentino Catricalà, Laura Leuzzi, Cronologia della videoarte italiana, in Marco Maria Gazzano, KINEMA. Il movie theater sulle tracce del cinema. Dal moving picture alle arti elettroniche andata e ritorno, Exorma, Roma 2013.

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Source: https://en.wikipedia.org/wiki/Video_art

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