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Come as You Are Art of the 1990s Pdf

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Art form using video technology

Video art is an art form which relies on using video engineering science every bit a visual and audio medium. Video fine art emerged during the late 1960s as new consumer video engineering such as video tape recorders became available outside corporate broadcasting. Video art can have 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 1 or more tv set 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 nearly ordinarily 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 engineering as a new way of expression.

One of the key differences betwixt video art and theatrical cinema is that video art does not necessarily rely on many of the conventions that ascertain theatrical movie house. Video art may not employ the employ of actors, may comprise no dialogue, may have no discernible narrative or plot, and may not adhere to any of the other conventions that mostly define motion pictures as amusement. This distinction also distinguishes video art from cinema'southward subcategories such as avant garde cinema, short films, or experimental film.

Early on history [edit]

Nam June Paik, a Korean-American artist who studied in Federal republic of germany, is widely regarded as a pioneer in video art.[2] [three] In March 1963 Nam June Paik showed at the Galerie Parnass in Wuppertal the Exposition of Music – Electronic Television receiver.[4] [v] In May 1963 Wolf Vostell showed the installation 6 Boob tube Dé-coll/age at the Smolin Gallery in New York and created the video Sunday in your head in Cologne. Originally Sun in your head was fabricated on 16mm film and transferred 1967 to videotape.[6] [vii] [eight]

Video art is often said to take begun when Paik used his new Sony Portapak to shoot footage of Pope Paul Half-dozen'south procession through New York Urban center in the autumn of 1965[9] Later that same day, beyond boondocks in a Greenwich Village cafe, Paik played the tapes and video art was built-in.

Prior to the introduction of consumer video equipment, moving image production was only available non-commercially via 8mm picture show and 16mm movie. Afterward the Portapak'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, operation, 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 Loma, Joan Jonas, Bruce Nauman, Nam June Paik, Bill Viola, Shigeko Kubota, Martha Rosler, William Wegman, and many others. At that place were besides 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,[x] 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 instance, American creative person Peter Campus' Double Vision combined the video signals from two Sony Portapaks through an electronic mixer, resulting in a distorted and radically anomalous epitome. Some other representative slice, Joan Jonas' Vertical Roll, involved recording previously-recorded textile of Jonas dancing while playing the videos back on a tv, 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 Urban center, with The Kitchen, founded in 1972 past Steina and Woody Vasulka (and assisted by video managing director Dimitri Devyatkin and Shridhar Bapat), serving as a nexus for many young artists. An early on multi-channel video art work (using several monitors or screens) was Wipe Cycle by Ira Schneider and Frank Gillette. Wipe Bicycle was first exhibited at the Howard Wise Gallery in New York in 1969 as part of an exhibition titled "Goggle box every bit a Creative Medium". An installation of nine television receiver screens, Wipe Cycle combined live images of gallery visitors, plant footage from commercial tv set, and shots from pre-recorded tapes. The material was alternated from one monitor to the next in an elaborate choreography.


On the Westward coast, the San Jose State idiot box studios in 1970, Willoughby Sharp began the "Videoviews" serial 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 "Trunk Works", an exhibition of video works by Vito Acconci, Terry Play a joke on, Richard Serra, Keith Sonnier, Dennis Oppenheim and William Wegman which was presented at Tom Marioni'southward Museum of Conceptual Fine art, San Francisco, California.

In Europe, Valie Export'southward groundbreaking video slice, "Facing a Family" (1971) was one of the first instances of tv intervention and dissemination video fine 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 upshot for many members of the audition who were doing the same thing. Export believed the idiot box could complicate the relationship betwixt subject field, spectator, and television.[13] [fourteen] In the United kingdom David Hall'due south "TV Interruptions" (1971) were transmitted intentionally unannounced and uncredited on Scottish Idiot box, the commencement artist interventions on British television.

1980s-1990s [edit]

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 digital media artists and video artists interacted with the mediums. Different themes emerged and were explored in the artists work, such every bit interactivity and nonlinearity. Criticisms of the editing software focused on the liberty that was created for the artists through the technology, but not for the audience. Some artists combined concrete and digital techniques to permit their audience to physically explore the digital piece of work. An example of this is Jeffrey Shaw's "Legible City" (1988–91). In this piece the "audience" rides a stationary cycle through a virtual images of Manhattan, Amsterdam, and Karlsrule. The images alter depending on the management of the bike handles, and the speed of the pedaler. This created a unique virtual experience for every participant.

After 2000 [edit]

Every bit technology and editing techniques take evolved since the emergence of video as an fine art course, artists accept been able to experiment more with video art without using any of their ain content. Marco Brambilla's Civilization (2008) shows this technique. Brambilla attempts to make a video version of a collage, or a "video landscape" [15] by combining diverse clips from movies, and editing them to portray heaven and hell.[sixteen]

There are artists today who have changed the style video art is perceived and viewed. In 2003, Kalup Linzy created Conversations Wit De Churen II: All My Churen, a lather 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] Trecartin played with the portrayal of identity and ended up producing characters who "can be many people at the aforementioned time".[18] When asked about his characters, Trecartin explained that he visualized that each person's identity was made up of "areas" and that they could all be very different from each other and exist expressed at different times.[18] Ryan Trecartin is an innovative artist who has been said to have "changed the way we appoint with the world and with 1 another"[19] through video art. A serial of videos made by Trecartin titled I-BE-Expanse displayed this, i example is I-BE-Area (Pasta and Wendy Grand-PEGgy), which was made public in 2008, which portrays a character named Wendy who behaves erratically. 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 be very different from each other and be expressed at different times.[18] Ryan Trecartin is an innovative artist who has been said to have "inverse the way we engage with the earth and with one another"[nineteen] through video art. In 2008, New York Times Holland Cotter writes, 'A big difference between his work and Mr. Trecartin's is in the caste of digital engagement. Mr. Trecartin goes wild with editing bells and whistles; Mr. Linzy does not. The plainness and occasional clunkiness of his video technique is i reason the Braswell serial ends upwards touching in a style that Mr. Trecartin's buzzed-upwards narratives rarely are. For all their raunchy hilarity Mr. Linzy's characters are more than cartoons; "All My Churen" is a family-values story that has a lot to do with life.[20]

Functioning art and video art [edit]

Video art as a medium can also be combined with other forms of artistic expression such equally Functioning fine art. This combination can also be referred to as "media and functioning fine art" [21] when artists "break the mold of video and film and broaden the boundaries of fine art".[21] With increased ability for artists to obtain video cameras, performance art started being documented and shared beyond big amounts of audiences.[22] Artists such equally Marina Abramovic and Ulay experimented with video taping their performances in the 1970s and the 1980s. In a slice titled "Rest free energy" (1980) both Ulay and Marina suspended their weight and so that they pulled back a bow and pointer aimed at her center, Ulay held the arrow, and Marina the bow. The piece was iv:10 which Marina described every bit existence "a performance about complete and full trust".[23]

Other artists who combined Video fine art with Performance art used the camera as the audition. Kate Gilmore experimented with the positioning of the camera. In her video "Anything" (2006) she films her performance piece every bit she is constantly trying the reach the camera which is staring downwardly at her. As the thirteen-minute video goes on, she continues to necktie together pieces of article of furniture while constantly attempting to achieve the photographic camera. Gilmore added an element of struggle to her art which is sometimes self-imposed,[24] in her video "My love is an anchor" (2004) she lets her pes dry in cement earlier attempting to pause gratis on camera.[25] Gilmore has said to take mimicked expression styles from the 1960s and 1970s with inspirations like Marina Abramovic equally she adds extremism and struggle to her work.[26]

Some artists experimented with space when combining Video art and Operation art. Ragnar Kjartannson, an Icelandic creative person, filmed an entire music video with 9 unlike artists, including himself, existence filmed in unlike 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).[27]

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

As an academic discipline [edit]

Since 2000, video arts programs take begun to emerge among colleges and universities as a standalone bailiwick typically situated in relation to film and older circulate curricula. Current models institute in universities similar Northeastern and Syracuse show video arts offering baseline competencies in lighting, editing and photographic camera operation. While these fundamentals can feed into and back up existing film or Idiot box product areas, contempo growth of entertainment media through CGI and other special effects situate skills like animation, motion graphics and computer aided design equally upper level courses in this emerging surface area.

Notable video art organizations [edit]

  • Ars Electronica Centre (AEC), Linz, Republic of austria
  • Edith-Russ-Haus for Media Fine art, Oldenburg, Federal republic of germany
  • Electronic Arts Intermix, New York, NY
  • Experimental Television Center, New York
  • Goetz Collection, Munich, Federal republic of germany
  • Imai – inter media art found, Düsseldorf
  • Impakt Festival, Utrecht
  • Julia Stoschek Collection, Düsseldorf, Germany
  • Kunstmuseum Bonn, large video art drove
  • 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, U.k.
  • London Video Arts, London, UK
  • Neuer Berliner Kunstverein with its "Video-Forum" established in 1971 – Berlin, Germany
  • Perpetual fine art machine, New York
  • Raindance Foundation, New York
  • Souvenirs from Earth, Art Tv set 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 Heart, Vancouver, Canada
  • ZKM Center for Art and Media Karlsruhe, Germany
  • Videobrasil, Associação Cultural Videobrasil, São Paulo, Brazil

See too [edit]

  • Artmedia
  • Experimental movie
  • INFERMENTAL
  • Interactive film
  • Listing 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 synthesizer
  • Visual music
  • VJ (video performance artist)

References [edit]

  1. ^ Hartney, Mick. "Video fine art" Archived 2011-10-17 at the Wayback Machine, MoMA, accessed January 31, 2011
  2. ^ "Archived copy" (PDF). Archived (PDF) from the original on 2016-03-04. Retrieved 2016-05-16 . {{cite spider web}}: CS1 maint: archived copy every bit title (link)
  3. ^ 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 nine May 2018.
  4. ^ Netz, Medien Kunst (9 May 2018). "Medien Kunst Netz - Exposition of Music – Electronic Television receiver". www.medienkunstnetz.de. Archived 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. Archived from the original on ix 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-i
  7. ^ Net, Media Art (ix May 2018). "Media Art Cyberspace - Vostell, Wolf: Television Décollage". www.medienkunstnetz.de. Archived from the original on 11 May 2012. Retrieved nine May 2018.
  8. ^ Net, Media Art (9 May 2018). "Media Art Net - Vostell, Wolf: Sun in Your Caput". www.medienkunstnetz.de. Archived from the original on 8 Oct 2017. Retrieved 9 May 2018.
  9. ^ Laura Cumming (December 19, 2010), Nam June Paik – review Archived 2016-11-26 at the Wayback Auto 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 Tour: A Guided Bout. 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 EXPORT'southward Facing a Family unit". Museum of Mod Fine art New York (MoMA) . Retrieved 2022-01-28 . {{cite spider web}}: CS1 maint: url-status (link)
  15. ^ "Marco Brambilla: Civilization". Motionographer. 2009-03-16. Archived from the original on 2018-03-31. Retrieved 2018-03-03 .
  16. ^ "Civilization (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 Cocky, 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 Demand to Know About Lizzie Fitch and Ryan Trecartin, the Artists Backside Kendall and Gigi'southward W Cover Story". Due west Magazine. Archived from the original on 2018-03-31. Retrieved 2018-03-30 .
  20. ^ Cotter, Holland. "Video Fine art Thinks Big: 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". www.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. ^ "Pause on Through". 2009-07-01. Archived from the original on 2018-03-20. Retrieved 2018-03-02 .
  26. ^ "Kate Gilmore: Body of Work | MOCA Cleveland". mocacleveland.org. Archived from the original on 2018-03-20. 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".

Farther reading [edit]

  • Making Video 'In' - The Contested Ground of Alternative Video On The Due west Declension Edited by Jennifer Abbott (Satellite Video Substitution Social club, 2000).
  • Videography: Video Media as Art and Culture past Sean Cubitt (MacMillan, 1993).
  • A History of Experimental Picture show and Video past A. L. Rees (British Film Institute, 1999).
  • New Media in Late 20th-Century Art by Michael Rush (Thames & Hudson, 1999).
  • Mirror Auto: Video and Identity, edited by Janine Marchessault (Toronto: YYZ Books, 1995).
  • Sounding the Gallery: Video and the Rising 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).
  • Video Art: A Guided Bout 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 (Academy of Luton/Arts Quango England, 1996)
  • ARTFORUM FEB 1993 "Travels In The New Flesh" past Howard Hampton (Printed by ARTFORUM INTERNATIONAL 1993)
  • Resolutions: Gimmicky Video Practices', (eds. Renov, Michael & Erika Suderburg) (London, Minneapolis: University of Minnesota Press,1996).
  • Expanded Movie theatre past Gene Youngblood (New York: E.P. Dutton & Company, 1970).
  • The Problematic of Video Art in the Museum 1968-1990 by Cyrus Manasseh (Cambria Printing, 2009).
  • "First Electronic Art Testify" past (Niranjan Rajah & Hasnul J Saidon) (National Fine art Gallery, Kuala Lumpur, 1997)
  • "Expanded Movie house", (David Curtis, A. L. Rees, Duncan White, and Steven Brawl, 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 N America past 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 Culling 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 Germany 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-three-86335-074-1.
  • Demolden Video Project: 2009-2014. Video Fine 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 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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