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Wikipedia

Video art

November 14, 2023

For the console created by LJN, see LJN Video Art.

Video art is an art form which relies on using video technology as 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 incorporate one or more television sets, video monitors, and projections, displaying live or recorded images and sounds.[1]

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

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 actors, may contain no dialogue, may have no discernible narrative or plot, and may not adhere to any of the other conventions that generally define motion pictures as entertainment. This distinction also distinguishes video art from cinema's subcategories such as avant garde cinema, short films, or experimental film.

Early history edit

Nam June Paik, a Korean-American artist who studied in Germany, is widely regarded as a pioneer in video art.[2][3] In March 1963 Nam June Paik showed at the Galerie Parnass in Wuppertal the Exposition of Music – Electronic Television.[4][5] In May 1963 Wolf Vostell showed the installation 6 TV Dé-coll/age at the Smolin Gallery in New York and created the video Sun in your head in Cologne. Originally Sun in your head was made on 16mm film and transferred 1967 to videotape.[6][7][8]

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

 
A Sony AV-3400 Portapak

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

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, Maureen Connor, Norman Cowie, Dimitri Devyatkin, Frank Gillette, Dan Graham, Gary Hill, 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[11] and Michael Snow[12] were important to the development of video art in Canada.

In the 1970s edit

Much video 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 dissonant image. Another 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 art in the United States was produced out of New York City, with The Kitchen, founded in 1972 by Steina and Woody Vasulka (and assisted by video director Dimitri Devyatkin and Shridhar Bapat), serving as a nexus for many young artists. An early multi-channel video art work (using several monitors or screens) was Wipe Cycle by 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.

On the West coast, the San Jose State television 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.[citation needed]

In Europe, 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, creating a mirroring effect for many members of the audience who were doing the same thing. Export believed the television could complicate the relationship between subject, spectator, and television.[13] [14] In the United Kingdom David Hall's "TV Interruptions" (1971) were transmitted intentionally unannounced and uncredited on Scottish TV, the first artist interventions on British television.

1980s-1990s edit

 
From Ukrainian video by Glib Viches. Reconstructions.1995

As the prices of editing software decreased, the access the general public had to utilize these technologies increased. Video editing software became so readily available that it changed the way artists worked with the medium. Simulteanously, with the arrival of independent televisions in Europe and the emergence of video clips, artists also used the potential of special effects, high quality images and sophisticated editing (Gary Hill, Bill Viola). Festivals dedicated to video art such as the World Wide Video festival in The Hague, the Biennale de l'Image in Geneva or Ars Electronica in Linz developed and underlined the importance of creation in this field.

Shortly thereafter. From the beginning of the 90's, contemporary art exhibitions integrate artists' videos among other works and installations. This is the case of the Venice Biennale (Aperto 93) and of NowHere at the Louisiana Museum, but also of art galleries where a new generation of artists for whom the arrival of lighter equipment such as Handycams favored a more direct expression. Artists such as Pipilotti Rist, Tony Oursler, Carsten Höller, Cheryl Donegan, Nelson Sullivan were able, as others in the 1960s, to leave their studios easily to film by hand without sophistication, sometimes mixing found images with their own (Douglas Gordon, Pierre Bismuth, Sylvie Fleury, Johan Grimonprez, Claude Closky) and using a present but simple post-production. The presentation of the works was also simplified with the arrival of monitors in the exhibition rooms and distribution in VHS. The arrival of this younger generation announced the feminist and gender issues to come, but also the increasingly hybrid use of different media (transferred super 8 films, 16mm, digital editing, TV show excerpts, sounds from different sources, etc).

At the same time, museums and institutions more specialized in video art were integrating digital technology, such as the ZKM in Karlsruhe, directed by Peter Weibel, with numerous thematic exhibitions, or the Centre pour l'Image Contemporaine with its biennial Version (1994-2004) directed by Simon Lamunière.

With the arrival of digital technology and the Internet, some museums have federated their databases such as http://www.newmedia-art.org/ produced by the Centre Georges Pompidou in Paris, the Museum Ludwig in Cologne and the Centre pour l'Image Contemporaine (center for contemporary images) in Geneva.

By the end of the century, institutions and artists worked on the expanding spectrum of the media, 3d imagery, interactivity, cd-roms, Internet, digital post production etc. Different themes emerged such as interactivity and nonlinearity. Some artists combined physical and digital techniques, such as Jeffrey Shaw's "Legible City" (1988–91). Others by using Low-Tech interactivity such as Claude Closky's online "+1" or "Do you want Love or Lust" in 1996 coproduced by the Dia Art Foundation. But these steps start to move away from the so called video art towards the New media art and Internet art.

After 2000 edit

As the available amount of footage and the editing techniques evolved, some artists have also produced complex narrative videos without using any of their own footage: Marco Brambilla's Civilization (2008) is a collage, or a "video mural" [15] that portrays heaven and hell.[16] Johan Grimonprez's Dial H-I-S-T-O-R-Y is a 68 minute long interpretation of the cold war and the role of terrorists, made almost exclusively with original television and film excerpts on highjacking.

More generally, during the first decade, one of the most significant steps in the video art domain, was achieved with its strong presence in contemporary art exhibitions at the international level. During this period, it was common to see artist videos in group shows, on monitors or as projections. More than a third of the works presented at Art Unlimited (the section of Art Basel dedicated to large-scale works) were video installations between 2000 and 2015. The same is true for most biennials. A new generation of artists such as Pipilotti Rist, Francis Alys, Kim Sooja, Apichatpong Weerasethakul, Omer Fast, David Claerbout, Sarah Morris, Matthew Barney, were presented alongside the previous generations (Roman Signer, Bruce Nauman, Bill Viola, Joan Jonas, John Baldessari).

Some artists have also widened their audience by making movies (Apichatpong Weerasethakul who won the 2010 Cannes Film Festival "Palm d'or") or by curating large public events (Pipilotti Rist's Swiss National Expo02

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's 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 acting to portray what The New Yorker calls "a cultural watershed".[18][19]

Performance art and video art edit

Video art as a medium can also be combined with other forms of artistic expression such as Performance art. This combination can also be referred to as "media and performance art" [20] when artists "break the mold of video and film and broaden the boundaries of art".[20] With increased ability for artists to obtain video cameras, performance art started being documented and shared across large amounts of audiences.[21] Artists such as Marina Abramovic and Ulay experimented with video taping their performances in the 1970s and the 1980s. In a piece titled “Rest energy” (1980) both Ulay and Marina suspended their weight so that they pulled back a bow and arrow aimed at her heart, Ulay held the arrow, and Marina the bow. The piece was 4:10 which Marina described as being “a performance about complete and total trust”.[22]

Other artists who combined Video art with Performance art used the camera as the audience. Kate Gilmore experimented with the positioning of the camera. In her video “Anything” (2006) she films her performance piece as she is constantly trying the reach the camera which is staring down at her. As the 13-minute video goes on, she continues to tie together pieces of furniture while constantly attempting to reach the camera. Gilmore added an element of struggle to her art which is sometimes self-imposed,[23] in her video “My love is an anchor” (2004) she lets her foot dry in cement before attempting to break free on camera.[24] Gilmore has said to have mimicked expression styles from the 1960s and 1970s with inspirations like Marina Abramovic as she adds extremism and struggle to her work.[25]

Some artists experimented with space when combining Video art and Performance art. Ragnar Kjartannson, an Icelandic artist, filmed an entire music video with 9 different artists, including himself, being filmed in different rooms. All the artists could hear each other through a pair of headphones so that they could play the song together, the piece was titled "The visitors" (2012).[26]

Some artists, such as Jaki Irvine and Victoria Fu have experimented with combining 16 mm film, 8 mm film and video to make use of the potential discontinuity between moving image, musical score and narrator to undermine any sense of linear narrative.[27]

As an academic discipline edit

Since 2000, video arts programs have begun to emerge among colleges and universities as a standalone discipline typically situated in relation to film and older broadcast curricula. Current models found in universities like Northeastern and Syracuse show video arts offering baseline competencies in lighting, editing and camera operation. While these fundamentals can feed into and support existing film or TV production areas, recent growth of entertainment media through CGI and other special effects situate skills like animation, motion graphics and computer aided design as upper level courses in this emerging area.

Notable video art organizations edit

See also edit

 
Wikimedia Commons has media related to Video art.
 
Wikiquote has quotations related to Video art.

References edit

  1. ^ Hartney, Mick. "Video art" 2011-10-17 at the Wayback Machine, MoMA, accessed January 31, 2011
  2. ^ "Archived copy" (PDF). (PDF) from the original on 2016-03-04. Retrieved 2016-05-16.{{cite web}}: CS1 maint: archived copy as title (link)
  3. ^ Judkis, Maura (12 December 2012). "Nam June Paik at the Smithsonian American Art Museum opens Dec. 13". washingtonpost.com. 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. from the original on 9 August 2017. Retrieved 9 May 2018.
  5. ^ Net, Media Art (9 May 2018). "Media Art Net - Exhibition unknown". www.medienkunstnetz.de. 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 Art Net - Vostell, Wolf: Television Décollage". www.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. from the original on 8 October 2017. Retrieved 9 May 2018.
  9. ^ Laura Cumming (December 19, 2010), Nam June Paik – review 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. ISBN 088830269X. OCLC 12578727.
  11. ^ "Vera Frenkel: Archive Fevers - Canadian Art". Canadian Art. from the original on 2016-10-22. Retrieved 2016-10-22.
  12. ^ Elwes, Catherine (2006-04-26). Video Art, A Guided Tour: A Guided Tour. I.B.Tauris. ISBN 9780857735959. from the original on 2018-05-09.
  13. ^ "Electronic Arts Intermix: Facing a Family, Valie Export". eai.org. from the original on 2010-12-25.
  14. ^ Cavoulacos, Sophie (2021-12-21). "VALIE EXPORT's Facing a Family". Museum of Modern Art New York (MoMA). Retrieved 2022-01-28.
  15. ^ "Marco Brambilla: Civilization". Motionographer. 2009-03-16. from the original on 2018-03-31. Retrieved 2018-03-03.
  16. ^ "Civilization (Hell and Heaven) by Marco Brambilla". www.seditionart.com. from the original on 2018-03-31. Retrieved 2018-03-03.
  17. ^ 'Theatre of the Self, Performing who you are'.
  18. ^ Tomkins, Calvin (2014-03-17). "Experimental People". The New Yorker. ISSN 0028-792X. from the original on 2018-03-31. Retrieved 2018-03-30.
  19. ^ Solway, Diane. "What You Need to Know About Lizzie Fitch and Ryan Trecartin, the Artists Behind Kendall and Gigi's W Cover Story". W Magazine. from the original on 2018-03-31. Retrieved 2018-03-30.
  20. ^ a b "MoMA | Performing for the Camera". www.moma.org. from the original on 2018-03-31. Retrieved 2018-03-03.
  21. ^ "MoMA | Performance into Art". www.moma.org. from the original on 2017-12-15. Retrieved 2018-03-03.
  22. ^ "Museum of Modern Art | MoMA". www.moma.org. from the original on 2018-03-31. Retrieved 2018-03-02.
  23. ^ "Kate Gilmore | LANDMARKS". landmarks.utexas.edu. 16 March 2015. from the original on 2016-08-23. Retrieved 2018-03-02.
  24. ^ "Break on Through". 2009-07-01. from the original on 2018-03-20. Retrieved 2018-03-02.
  25. ^ "Kate Gilmore: Body of Work | MOCA Cleveland". mocacleveland.org. from the original on 2018-03-20. Retrieved 2018-03-03.
  26. ^ "Art Star Ragnar Kjartansson Moves People To Tears, Over And Over". NPR.org. from the original on 2018-03-31. Retrieved 2018-03-02.
  27. ^ "Jaki Irvine".

Further reading edit

  • 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 A. L. 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).
  • Sounding the Gallery: Video and the Rise of Art Music by Holly Rogers (New York: Oxford University Press, 2013).
  • Video Culture: A Critical Investigation, edited by John G. Hanhardt (Visual Studies Workshop Press, 1986).
  • Moving Layers: Contextual Video in Art & Architecture, edited by Alexandro Ladaga, Silvia Manteiga (Rome, Edilstampa Press, 2014). ISBN 9781291852295
  • The Electronic Civilization", in Screencity Lab Accademic Journal, edited by Alexandro Ladaga, Silvia Manteiga n.1, 2012, pp. 4, 11, 37-42. ISBN 978-88-9637-010-0
  • Video Art: A Guided Tour by Catherine Elwes (I.B. Tauris, 2004).
  • A History of Video Art by Chris Meigh-Andrews (Berg, 2006)
  • 127kBdiarte, pensare l'arte in rete by Elastic Group of Artistic Research, (San Donato, Psiche e Aurora Ed., 2015). ISBN 9788889875421
  • Diverse Practices: A Critical Reader on British Video Art edited by Julia Knight (University of Luton/Arts Council England, 1996)
  • 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, A. L. Rees, Duncan White, and Steven Ball, eds), Tate Publishing, 2011
  • "Retrospektiv-Film-org videokunst| Norge 1960-90". Edited by Farhad Kalantary & Linn Lervik. Atopia Stiftelse, Oslo, (April 2011).
  • Experimental Film and Video, Jackie Hatfield, Editor. (John Libbey Publishing, 2006; distributed in North America by Indiana University Press)
  • "REWIND: British Artists' Video in the 1970s & 1980s", (Sean Cubitt, and Stephen Partridge, eds), John Libbey Publishing, 2012.
  • Reaching Audiences: Distribution and Promotion of Alternative Moving Image by Julia Knight and Peter Thomas (Intellect, 2011)
  • 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.
  • 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 cinema sulle tracce del cinema. Dal film alle arti elettroniche andata e ritorno, Exorma, Roma 2013.

November 14, 2023
video, console, created, video, form, which, relies, using, video, technology, visual, audio, medium, emerged, during, late, 1960s, consumer, video, technology, such, video, tape, recorders, became, available, outside, corporate, broadcasting, take, many, form. For the console created by LJN see LJN Video Art Video art is an art form which relies on using video technology as 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 incorporate one or more television sets video monitors and projections displaying live or recorded images and sounds 1 Video art is named for the original analog video tape which was the most commonly used recording technology in much of the form history into the 1990s With the advent of digital recording equipment many artists began to explore digital technology as a new way of expression 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 actors may contain no dialogue may have no discernible narrative or plot and may not adhere to any of the other conventions that generally define motion pictures as entertainment This distinction also distinguishes video art from cinema s subcategories such as avant garde cinema short films or experimental film Contents 1 Early history 2 In the 1970s 3 1980s 1990s 4 After 2000 5 Performance art and video art 6 As an academic discipline 7 Notable video art organizations 8 See also 9 References 10 Further readingEarly history editNam June Paik a Korean American artist who studied in Germany is widely regarded as a pioneer in video art 2 3 In March 1963 Nam June Paik showed at the Galerie Parnass in Wuppertal the Exposition of Music Electronic Television 4 5 In May 1963 Wolf Vostell showed the installation 6 TV De coll age at the Smolin Gallery in New York and created the video Sun in your head in Cologne Originally Sun in your head was made on 16mm film and transferred 1967 to videotape 6 7 8 Video art is often said to have begun when Paik used his new Sony Portapak to shoot footage of Pope Paul VI s procession through New York City in the autumn of 1965 9 Later that same day across town in a Greenwich Village cafe Paik played the tapes and video art was born nbsp A Sony AV 3400 PortapakPrior to the introduction of consumer video equipment moving image production was only available non commercially via 8mm film and 16mm film After the Portapak s introduction and its subsequent update every few years many artists began exploring the new technology 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 Maureen Connor Norman Cowie Dimitri Devyatkin Frank Gillette Dan Graham Gary Hill 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 11 and Michael Snow 12 were important to the development of video art in Canada In the 1970s editMuch video 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 dissonant image Another 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 nbsp A still from Jonas 1972 videoMuch video art in the United States was produced out of New York City with The Kitchen founded in 1972 by Steina and Woody Vasulka and assisted by video director Dimitri Devyatkin and Shridhar Bapat serving as a nexus for many young artists An early multi channel video art work using several monitors or screens was Wipe Cycle by 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 On the West coast the San Jose State television 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 citation needed In Europe 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 creating a mirroring effect for many members of the audience who were doing the same thing Export believed the television could complicate the relationship between subject spectator and television 13 14 In the United Kingdom David Hall s TV Interruptions 1971 were transmitted intentionally unannounced and uncredited on Scottish TV the first artist interventions on British television 1980s 1990s edit nbsp From Ukrainian video by Glib Viches Reconstructions 1995As the prices of editing software decreased the access the general public had to utilize these technologies increased Video editing software became so readily available that it changed the way artists worked with the medium Simulteanously with the arrival of independent televisions in Europe and the emergence of video clips artists also used the potential of special effects high quality images and sophisticated editing Gary Hill Bill Viola Festivals dedicated to video art such as the World Wide Video festival in The Hague the Biennale de l Image in Geneva or Ars Electronica in Linz developed and underlined the importance of creation in this field Shortly thereafter From the beginning of the 90 s contemporary art exhibitions integrate artists videos among other works and installations This is the case of the Venice Biennale Aperto 93 and of NowHere at the Louisiana Museum but also of art galleries where a new generation of artists for whom the arrival of lighter equipment such as Handycams favored a more direct expression Artists such as Pipilotti Rist Tony Oursler Carsten Holler Cheryl Donegan Nelson Sullivan were able as others in the 1960s to leave their studios easily to film by hand without sophistication sometimes mixing found images with their own Douglas Gordon Pierre Bismuth Sylvie Fleury Johan Grimonprez Claude Closky and using a present but simple post production The presentation of the works was also simplified with the arrival of monitors in the exhibition rooms and distribution in VHS The arrival of this younger generation announced the feminist and gender issues to come but also the increasingly hybrid use of different media transferred super 8 films 16mm digital editing TV show excerpts sounds from different sources etc At the same time museums and institutions more specialized in video art were integrating digital technology such as the ZKM in Karlsruhe directed by Peter Weibel with numerous thematic exhibitions or the Centre pour l Image Contemporaine with its biennial Version 1994 2004 directed by Simon Lamuniere With the arrival of digital technology and the Internet some museums have federated their databases such as http www newmedia art org produced by the Centre Georges Pompidou in Paris the Museum Ludwig in Cologne and the Centre pour l Image Contemporaine center for contemporary images in Geneva By the end of the century institutions and artists worked on the expanding spectrum of the media 3d imagery interactivity cd roms Internet digital post production etc Different themes emerged such as interactivity and nonlinearity Some artists combined physical and digital techniques such as Jeffrey Shaw s Legible City 1988 91 Others by using Low Tech interactivity such as Claude Closky s online 1 or Do you want Love or Lust in 1996 coproduced by the Dia Art Foundation But these steps start to move away from the so called video art towards the New media art and Internet art After 2000 editAs the available amount of footage and the editing techniques evolved some artists have also produced complex narrative videos without using any of their own footage Marco Brambilla s Civilization 2008 is a collage or a video mural 15 that portrays heaven and hell 16 Johan Grimonprez s Dial H I S T O R Y is a 68 minute long interpretation of the cold war and the role of terrorists made almost exclusively with original television and film excerpts on highjacking More generally during the first decade one of the most significant steps in the video art domain was achieved with its strong presence in contemporary art exhibitions at the international level During this period it was common to see artist videos in group shows on monitors or as projections More than a third of the works presented at Art Unlimited the section of Art Basel dedicated to large scale works were video installations between 2000 and 2015 The same is true for most biennials A new generation of artists such as Pipilotti Rist Francis Alys Kim Sooja Apichatpong Weerasethakul Omer Fast David Claerbout Sarah Morris Matthew Barney were presented alongside the previous generations Roman Signer Bruce Nauman Bill Viola Joan Jonas John Baldessari Some artists have also widened their audience by making movies Apichatpong Weerasethakul who won the 2010 Cannes Film Festival Palm d or or by curating large public events Pipilotti Rist s Swiss National Expo02In 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 s 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 acting to portray what The New Yorker calls a cultural watershed 18 19 Performance art and video art editVideo art as a medium can also be combined with other forms of artistic expression such as Performance art This combination can also be referred to as media and performance art 20 when artists break the mold of video and film and broaden the boundaries of art 20 With increased ability for artists to obtain video cameras performance art started being documented and shared across large amounts of audiences 21 Artists such as Marina Abramovic and Ulay experimented with video taping their performances in the 1970s and the 1980s In a piece titled Rest energy 1980 both Ulay and Marina suspended their weight so that they pulled back a bow and arrow aimed at her heart Ulay held the arrow and Marina the bow The piece was 4 10 which Marina described as being a performance about complete and total trust 22 Other artists who combined Video art with Performance art used the camera as the audience Kate Gilmore experimented with the positioning of the camera In her video Anything 2006 she films her performance piece as she is constantly trying the reach the camera which is staring down at her As the 13 minute video goes on she continues to tie together pieces of furniture while constantly attempting to reach the camera Gilmore added an element of struggle to her art which is sometimes self imposed 23 in her video My love is an anchor 2004 she lets her foot dry in cement before attempting to break free on camera 24 Gilmore has said to have mimicked expression styles from the 1960s and 1970s with inspirations like Marina Abramovic as she adds extremism and struggle to her work 25 Some artists experimented with space when combining Video art and Performance art Ragnar Kjartannson an Icelandic artist filmed an entire music video with 9 different artists including himself being filmed in different rooms All the artists could hear each other through a pair of headphones so that they could play the song together the piece was titled The visitors 2012 26 Some artists such as Jaki Irvine and Victoria Fu have experimented with combining 16 mm film 8 mm film and video to make use of the potential discontinuity between moving image musical score and narrator to undermine any sense of linear narrative 27 As an academic discipline editSince 2000 video arts programs have begun to emerge among colleges and universities as a standalone discipline typically situated in relation to film and older broadcast curricula Current models found in universities like Northeastern and Syracuse show video arts offering baseline competencies in lighting editing and camera operation While these fundamentals can feed into and support existing film or TV production areas recent growth of entertainment media through CGI and other special effects situate skills like animation motion graphics and computer aided design as upper level courses in this emerging area Notable video art organizations editArs Electronica Center AEC Linz Austria Edith Russ Haus for Media Art Oldenburg Germany Electronic Arts Intermix New York NY Experimental Television Center New York Goetz Collection Munich Germany Imai inter media art institute Dusseldorf Impakt Festival Utrecht Julia Stoschek Collection Dusseldorf Germany Kunstmuseum Bonn large video art collection LA Freewaves is an experimental media art festival with video art shorts and animation exhibitions are in Los Angeles and online Lumen Eclipse Harvard Square MA LUX London UK London Video Arts London UK Neuer Berliner Kunstverein with its Video Forum established in 1971 Berlin Germany Raindance Foundation New York Souvenirs from Earth Art TV Station on European Cable Networks Paris Cologne Vtape Toronto Canada Videoart at Midnight an artists cinema project Berlin Germany Video Data Bank Chicago IL VIVO Media Arts Centre Vancouver Canada ZKM Center for Art and Media Karlsruhe Germany Videobrasil Associacao Cultural Videobrasil Sao Paulo BrazilSee also edit nbsp Wikimedia Commons has media related to Video art nbsp Wikiquote has quotations related to Video art 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 Sound art Video jockey Video poetry Video sculpture Video installation Video synthesizer Visual music VJingReferences edit Hartney Mick Video art Archived 2011 10 17 at the Wayback Machine MoMA accessed January 31 2011 Archived copy PDF Archived PDF from the original on 2016 03 04 Retrieved 2016 05 16 a href Template Cite web html title Template Cite web cite web a CS1 maint archived copy as title link Judkis Maura 12 December 2012 Nam June Paik at the Smithsonian American Art Museum opens Dec 13 washingtonpost com Archived from the original on 9 August 2017 Retrieved 9 May 2018 Netz Medien Kunst 9 May 2018 Medien Kunst Netz Exposition of Music Electronic Television www medienkunstnetz de Archived from the original on 9 August 2017 Retrieved 9 May 2018 Net 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 NBK Band 4 Time Pieces Videokunst seit 1963 Verlag der Buchhandlung Walther Konig Koln 2013 ISBN 978 3 86335 074 1 Net Media Art 9 May 2018 Media Art Net Vostell Wolf Television Decollage www medienkunstnetz de Archived from the original on 11 May 2012 Retrieved 9 May 2018 Net Media Art 9 May 2018 Media Art Net Vostell Wolf Sun in Your Head www medienkunstnetz de Archived from the original on 8 October 2017 Retrieved 9 May 2018 Laura Cumming December 19 2010 Nam June Paik review Archived 2016 11 26 at the Wayback Machine Nam June Paik The Guardian Marsh James H 1985 01 01 The Canadian encyclopedia Edmonton Hurtig Publishers ISBN 088830269X OCLC 12578727 Vera Frenkel Archive Fevers Canadian Art Canadian Art Archived from the original on 2016 10 22 Retrieved 2016 10 22 Elwes Catherine 2006 04 26 Video Art A Guided Tour A Guided Tour I B Tauris ISBN 9780857735959 Archived from the original on 2018 05 09 Electronic Arts Intermix Facing a Family Valie Export eai org Archived from the original on 2010 12 25 Cavoulacos Sophie 2021 12 21 VALIE EXPORT s Facing a Family Museum of Modern Art New York MoMA Retrieved 2022 01 28 Marco Brambilla Civilization Motionographer 2009 03 16 Archived from the original on 2018 03 31 Retrieved 2018 03 03 Civilization Hell and Heaven by Marco Brambilla www seditionart com Archived from the original on 2018 03 31 Retrieved 2018 03 03 Theatre of the Self Performing who you are 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 Solway Diane What You Need to Know About Lizzie Fitch and Ryan Trecartin the Artists Behind Kendall and Gigi s W Cover Story W Magazine Archived from the original on 2018 03 31 Retrieved 2018 03 30 a b MoMA Performing for the Camera www moma org Archived from the original on 2018 03 31 Retrieved 2018 03 03 MoMA Performance into Art www moma org Archived from the original on 2017 12 15 Retrieved 2018 03 03 Museum of Modern Art MoMA www moma org Archived from the original on 2018 03 31 Retrieved 2018 03 02 Kate Gilmore LANDMARKS landmarks utexas edu 16 March 2015 Archived from the original on 2016 08 23 Retrieved 2018 03 02 Break on Through 2009 07 01 Archived from the original on 2018 03 20 Retrieved 2018 03 02 Kate Gilmore Body of Work MOCA Cleveland mocacleveland org Archived from the original on 2018 03 20 Retrieved 2018 03 03 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 Jaki Irvine Further reading editMaking 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 A L Rees British Film Institute 1999 New Media in Late 20th Century Art by Michael Rush Thames amp Hudson 1999 Mirror Machine 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 Critical Investigation edited by John G Hanhardt Visual Studies Workshop Press 1986 Moving Layers Contextual Video in Art amp Architecture edited by Alexandro Ladaga Silvia Manteiga Rome Edilstampa Press 2014 ISBN 9781291852295 The Electronic Civilization in Screencity Lab Accademic Journal edited by Alexandro Ladaga Silvia Manteiga n 1 2012 pp 4 11 37 42 ISBN 978 88 9637 010 0 Video Art A Guided Tour by Catherine Elwes I B Tauris 2004 A History of Video Art by Chris Meigh Andrews Berg 2006 127kBdiarte pensare l arte in rete by Elastic Group of Artistic Research San Donato Psiche e Aurora Ed 2015 ISBN 9788889875421 Diverse Practices A Critical Reader on British Video Art edited by Julia Knight University of Luton Arts Council England 1996 ARTFORUM FEB 1993 Travels In The New Flesh by Howard Hampton Printed by ARTFORUM INTERNATIONAL 1993 Resolutions Contemporary Video Practices eds Renov Michael amp Erika Suderburg London Minneapolis University of Minnesota Press 1996 Expanded Cinema by Gene Youngblood New York E P Dutton amp 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 amp Hasnul J Saidon National Art Gallery Kuala Lumpur 1997 Expanded Cinema David Curtis A L Rees Duncan White and Steven Ball eds Tate Publishing 2011 Retrospektiv Film org videokunst Norge 1960 90 Edited by Farhad Kalantary amp Linn Lervik Atopia Stiftelse Oslo April 2011 Experimental Film and Video Jackie Hatfield Editor John Libbey Publishing 2006 distributed in North America by Indiana University Press REWIND British Artists Video in the 1970s amp 1980s Sean Cubitt and Stephen Partridge eds John Libbey Publishing 2012 Reaching Audiences Distribution and Promotion of Alternative Moving Image by Julia Knight and Peter Thomas Intellect 2011 Wulf Herzogenrath Videokunst der 60er Jahre in Deutschland Kunsthalle Bremen 2006 No ISBN Rudolf Frieling amp 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 Konig Koln 2013 ISBN 978 3 86335 074 1 Demolden Video Project 2009 2014 Video Art Gallery Santander Spain 2016 ISBN 978 84 16705 40 5 Valentino Catricala Laura Leuzzi Cronologia della videoarte italiana in Marco Maria Gazzano KINEMA Il cinema sulle tracce del cinema Dal film alle arti elettroniche andata e ritorno Exorma Roma 2013 Retrieved from https en wikipedia org w index php title Video art amp oldid 1184918784, wikipedia, wiki, book, books, library,

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