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How You Call When an Artist Is Having Videos of Standing as as a Work of Art

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Art form using video technology

Video art is an art form which relies on using video engineering as a visual and audio medium. Video art emerged during the late 1960s every bit new consumer video applied science such as video tape recorders became available exterior corporate broadcasting. Video art can take many forms: recordings that are broadcast; installations viewed in galleries or museums; works streamed online, distributed equally video tapes, or DVDs; and performances which may incorporate i or more than television sets, video monitors, and projections, displaying alive or recorded images and sounds.[i]

Video fine art is named for the original analog video tape, which was the most ordinarily used recording technology in much of the class 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 cardinal differences betwixt video art and theatrical cinema is that video fine art does non necessarily rely on many of the conventions that ascertain theatrical cinema. Video art may non employ the utilise of actors, may contain no dialogue, may have no discernible narrative or plot, and may not adhere to whatsoever of the other conventions that generally define motion pictures as amusement. This stardom besides distinguishes video art from cinema'due south subcategories such as avant garde cinema, curt films, or experimental film.

Early history [edit]

Nam June Paik, a Korean-American artist who studied in Germany, is widely regarded every bit 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 Tv set.[4] [5] In May 1963 Wolf Vostell showed the installation vi Tv set Dé-coll/historic period at the Smolin Gallery in New York and created the video Sun in your head in Cologne. Originally Lord's day in your caput was fabricated on 16mm flick and transferred 1967 to videotape.[6] [7] [viii]

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

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

Many of the early on prominent video artists were those involved with concurrent movements in conceptual art, performance, and experimental film. These include Americans Vito Acconci, Valie Consign, 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, Nib Viola, Shigeko Kubota, Martha Rosler, William Wegman, and many others. At that place were also those such as Steina and Woody Vasulka who were interested in the formal qualities of video and employed video synthesizers to create abstruse works. Kate Craig,[10] Vera Frenkel[11] and Michael Snow[12] were important to the evolution 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 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 dorsum on a telly, resulting in a layered and complex representation of mediation.

A even so from Jonas' 1972 video

Much video fine 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 director Dimitri Devyatkin and Shridhar Bapat), serving as a nexus for many immature artists. An early multi-aqueduct 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 every bit office of an exhibition titled "TV as a Creative Medium". An installation of nine television receiver screens, Wipe Cycle combined alive images of gallery visitors, constitute footage from commercial telly, and shots from pre-recorded tapes. The textile was alternated from 1 monitor to the adjacent 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 Play a trick on, Richard Serra, Keith Sonnier, Dennis Oppenheim and William Wegman which was presented at Tom Marioni's Museum of Conceptual Art, San Francisco, California.

In Europe, Valie Export's groundbreaking video piece, "Facing a Family unit" (1971) was 1 of the first instances of television intervention and dissemination video art. The video, originally broadcast on the Austrian tv 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 affair. Export believed the television could complicate the relationship between subject area, spectator, and television.[13] [xiv] In the United Kingdom David Hall'south "Boob tube Interruptions" (1971) were transmitted intentionally unannounced and uncredited on Scottish TV, the beginning artist interventions on British goggle box.

1980s-1990s [edit]

As the prices of editing software decreased, the access the full general public had to utilize these technologies increased. Video editing software became then 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 as interactivity and nonlinearity. Criticisms of the editing software focused on the freedom that was created for the artists through the technology, only 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's "Legible Urban center" (1988–91). In this piece the "audition" rides a stationary cycle through a virtual images of Manhattan, Amsterdam, and Karlsrule. The images alter depending on the direction of the bike handles, and the speed of the pedaler. This created a unique virtual experience for every participant.

Later 2000 [edit]

Every bit technology and editing techniques have evolved since the emergence of video every bit an art form, artists have been able to experiment more with video art without using any of their own content. Marco Brambilla'due south Civilization (2008) shows this technique. Brambilla attempts to brand a video version of a collage, or a "video landscape" [15] by combining various clips from movies, and editing them to portray heaven and hell.[16]

There are artists today who have inverse the way 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 functioning sub-genre[17] Although Linzy's work is genre defying his piece of work has been a major contribution to the medium. Ryan Trecartin, and experimental immature video-artist, uses color, editing techniques and baroque 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 same time".[eighteen] When asked about his characters, Trecartin explained that he visualized that each person'southward identity was made upwardly of "areas" and that they could all be very different from each other and be expressed at different times.[eighteen] Ryan Trecartin is an innovative artist who has been said to take "inverse the mode we engage with the globe and with 1 another"[19] through video art. A series of videos made past Trecartin titled I-BE-Surface area displayed this, ane example is I-BE-Surface area (Pasta and Wendy One thousand-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's identity was made upwardly 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 take "inverse the manner we engage with the world and with one another"[xix] through video art. In 2008, New York Times Holland Cotter writes, 'A large deviation between his work and Mr. Trecartin's is in the degree 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 one reason the Braswell serial ends up touching in a fashion 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]

Performance art and video art [edit]

Video fine art equally a medium can besides be combined with other forms of artistic expression such as Performance fine art. This combination tin can as well exist referred to as "media and performance art" [21] when artists "interruption the mold of video and film and broaden the boundaries of art".[21] With increased ability for artists to obtain video cameras, functioning 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 "Remainder free energy" (1980) both Ulay and Marina suspended their weight so that they pulled dorsum a bow and arrow aimed at her centre, Ulay held the pointer, and Marina the bow. The piece was 4:ten which Marina described every bit being "a functioning about consummate and total trust".[23]

Other artists who combined Video fine art with Performance fine 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 performance slice equally 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 article of furniture while constantly attempting to reach the camera. Gilmore added an element of struggle to her art which is sometimes cocky-imposed,[24] in her video "My love is an ballast" (2004) she lets her foot dry out in cement before attempting to pause costless on photographic camera.[25] Gilmore has said to have mimicked expression styles from the 1960s and 1970s with inspirations similar Marina Abramovic every bit she adds extremism and struggle to her work.[26]

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, beingness filmed in different rooms. All the artists could hear each other through a pair of headphones and then 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 sixteen mm moving picture, eight mm film and video to make use of the potential discontinuity between moving image, musical score and narrator to undermine whatsoever sense of linear narrative. [28]

Equally an academic discipline [edit]

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

Notable video art organizations [edit]

  • Ars Electronica Center (AEC), Linz, Austria
  • Edith-Russ-Haus for Media Art, Oldenburg, Deutschland
  • Electronic Arts Intermix, New York, NY
  • Experimental Television Heart, New York
  • Goetz Collection, Munich, Germany
  • Imai – inter media fine art institute, Düsseldorf
  • Impakt Festival, Utrecht
  • Julia Stoschek Drove, Düsseldorf, Deutschland
  • 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 Foursquare, MA
  • LUX, London, United kingdom of great britain and northern ireland
  • London Video Arts, London, Great britain
  • Neuer Berliner Kunstverein with its "Video-Forum" established in 1971 – Berlin, Federal republic of germany
  • Perpetual art automobile, New York
  • Raindance Foundation, New York
  • Souvenirs from Earth, Art Telly Station on European Cable Networks (Paris, Cologne)
  • Vtape, Toronto, Canada
  • Videoart at Midnight, an artists' movie house project, Berlin, Germany
  • Video Data Bank, Chicago, IL.
  • VIVO Media Arts Centre, Vancouver, Canada
  • ZKM Center for Fine art and Media Karlsruhe, Frg
  • Videobrasil, Associação Cultural Videobrasil, São Paulo, Brazil

Run into also [edit]

  • Artmedia
  • Experimental pic
  • INFERMENTAL
  • Interactive motion-picture show
  • List of video artists
  • Music video
  • Music visualization
  • New media art
  • Optical feedback
  • Existent-time computer graphics
  • Scratch video
  • Single-aqueduct video
  • Audio fine 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-ten-17 at the Wayback Automobile, MoMA, accessed January 31, 2011
  2. ^ "Archived re-create" (PDF). Archived (PDF) from the original on 2016-03-04. Retrieved 2016-05-16 . {{cite web}}: CS1 maint: archived re-create as title (link)
  3. ^ Judkis, Maura (12 December 2012). "Nam June Paik at the Smithsonian American Art Museum opens Dec. thirteen". washingtonpost.com. Archived from the original on 9 Baronial 2017. Retrieved 9 May 2018.
  4. ^ Netz, Medien Kunst (ix May 2018). "Medien Kunst Netz - Exposition of Music – Electronic Telly". www.medienkunstnetz.de. Archived from the original on nine 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 9 August 2017. Retrieved nine 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 Fine art (9 May 2018). "Media Fine art Net - Vostell, Wolf: Television Décollage". www.medienkunstnetz.de. Archived from the original on 11 May 2012. Retrieved 9 May 2018.
  8. ^ Internet, Media Art (9 May 2018). "Media Art Net - Vostell, Wolf: Sun in Your Caput". www.medienkunstnetz.de. Archived from the original on 8 October 2017. Retrieved 9 May 2018.
  9. ^ Laura Cumming (December 19, 2010), Nam June Paik – review Archived 2016-11-26 at the Wayback Car 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-x-22 .
  12. ^ Elwes, Catherine (2006-04-26). Video Fine art, A Guided Tour: A Guided Tour. I.B.Tauris. ISBN9780857735959. Archived from the original on 2018-05-09.
  13. ^ "Electronic Arts Intermix: Facing a Family, Valie Export". 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-status (link)
  15. ^ "Marco Brambilla: Civilisation". 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 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-xxx .
  19. ^ a b c Solway, Diane. "What You Need to Know Most Lizzie Fitch and Ryan Trecartin, the Artists Behind Kendall and Gigi's W Embrace Story". W Magazine. Archived from the original on 2018-03-31. Retrieved 2018-03-30 .
  20. ^ Cotter, Kingdom of the netherlands. "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 Fine 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. ^ "Break on Through". 2009-07-01. Archived from the original on 2018-03-20. Retrieved 2018-03-02 .
  26. ^ "Kate Gilmore: Torso of Work | MOCA Cleveland". mocacleveland.org. Archived from the original on 2018-03-xx. Retrieved 2018-03-03 .
  27. ^ "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 Basis of Alternative Video On The W Declension 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 past A. Fifty. Rees (British Picture show Institute, 1999).
  • New Media in Belatedly 20th-Century Art by Michael Rush (Thames & Hudson, 1999).
  • Mirror Car: Video and Identity, edited by Janine Marchessault (Toronto: YYZ Books, 1995).
  • Sounding the Gallery: Video and the Ascent of Art Music by Holly Rogers (New York: Oxford University Printing, 2013).
  • 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 Fine art by Chris Meigh-Andrews (Berg, 2006)
  • Diverse Practices: A Critical Reader on British Video Art edited by Julia Knight (Academy of Luton/Arts Council England, 1996)
  • ARTFORUM Feb 1993 "Travels In The New Flesh" past Howard Hampton (Printed past 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: Due east.P. Dutton & Company, 1970).
  • The Problematic of Video Art in the Museum 1968-1990 by Cyrus Manasseh (Cambria Printing, 2009).
  • "First Electronic Art Show" by (Niranjan Rajah & Hasnul J Saidon) (National Art Gallery, Kuala Lumpur, 1997)
  • "Expanded Movie theatre", (David Curtis, A. Fifty. Rees, Duncan White, and Steven Ball, eds), Tate Publishing, 2011
  • "Retrospektiv-Moving-picture show-org videokunst| Norge 1960-xc". Edited by Farhad Kalantary & Linn Lervik. Atopia Stiftelse, Oslo, (April 2011).
  • Experimental Picture 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 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 Deutschland von 1963 bis heute, Hatje Cantz Verlag, 2006, ISBN 978-3-7757-1717-v.
  • NBK Ring 4. Time Pieces. Videokunst seit 1963. Verlag der Buchhandlung Walther König, Köln, 2013, ISBN 978-iii-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 movie house. Dal film 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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