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Video art

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File:Electronic Superhighway by Nam June Paik.jpg
Nam June Paik's Electronic Superhighway: Continental United States, Alaska, Hawaii 1995

Video art is an art form which relies on moving pictures in a visual and audio medium. Video art came into existence during the late 1960s and early 1970s as new consumer video technology 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 after the original analog video tape, which was most commonly used recording technology in the form's early years. 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, or adhere to any of the other conventions that generally define motion pictures as entertainment. This distinction also distinguishes video art from cinema's subcategories (avant garde cinema, short films, or experimental films, etc.).

Early history

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, Joan Jonas, Bruce Nauman, Nam June Paik, Bill Viola, Shigeko Kubota, Martha Rosler, William Wegman, Gary Hill, and many others. There were also those such as Steina and Woody Vasulka who were interested in the formal qualities of video and employed video synthesizers to create abstract works. Kate Craig,[10] Vera Frenkel[11] and Michael Snow[12] were important to the development of video art in Canada.

In the 1970s

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 America 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.

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] 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

As the prices of these editing softwares 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 as interactivity and nonlinearity. Criticisms of the editing software focused on the freedom that was created for the artists through the technology, but not for the audience. Some artists combined physical and digital techniques to allow their audience to physically explore the digital work. An example of this is Jeffrey Shaw's "Legible City" (1988-91). In this piece the "audience" rides a stationary bicycle through a virtual images of Manhattan, Amsterdam, and Karlsrule. The images change depending on the direction of the bike handles, and the speed of the pedaler. This created a unique virtual experience for every participant.

Notable video art organizations

See also

Wikimedia Commons has media related to Video art.

References

  1. ^ Hartney, Mick. "Video art", MoMA, accessed January 31, 2011
  2. ^ http://www.vdb.org/sites/default/files/Kate%20Horsfield%20-%20Busting%20the%20Tube;%20A%20Brief%20History%20of%20Video%20Art.pdf
  3. ^ https://www.washingtonpost.com/blogs/going-out-guide/post/father-of-video-art-nam-june-paik-gets-american-art-museum-exhibit-photos/2012/12/12/c16fa980-448b-11e2-8e70-e1993528222d_blog.html
  4. ^ Nam June Paik, Galerie Parnass, 1963
  5. ^ Nam June Paik, Galerie Parnass, 1963
  6. ^ NBK Band 4. Time Pieces. Videokunst seit 1963. Verlag der Buchhandlung Walther König, Köln, 2013, ISBN 978-3-86335-074-1
  7. ^ Wolf Vostell, Smolin Gallery, New York, 1963
  8. ^ Wolf Vostell, Sun in your head, 1963
  9. ^ Laura Cumming (December 19, 2010), Nam June Paik – review Nam June Paik The Guardian.
  10. ^ Marsh, James H (1985-01-01). The Canadian encyclopedia. Edmonton: Hurtig Publishers. ISBN 088830269X.
  11. ^ "Vera Frenkel: Archive Fevers - Canadian Art". Canadian Art. Retrieved 2016-10-22.
  12. ^ Elwes, Catherine (2006-04-26). Video Art, A Guided Tour: A Guided Tour. I.B.Tauris. ISBN 9780857735959.
  13. ^ "Electronic Arts Intermix: Facing a Family, Valie Export". eai.org.
  14. ^ "Video Pool Media Arts Centre". Video Pool Media Arts Centre.

Further reading

  • 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).
  • Video Art: A Guided Tour by Catherine Elwes (I.B. Tauris, 2004).
  • A History of Video Art by Chris Meigh-Andrews (Berg, 2006)
  • Diverse Practices: A Critical Reader on British Video Art edited by Julia Knight (University of Luton/Arts Council England, 1996)[1]
  • ARTFORUM FEB 1993 "Travels In The New Flesh" by Howard Hampton (Printed by ARTFORUM INTERNATIONAL 1993)
  • Resolutions: Contemporary Video Practices', (eds. Renov, Michael & Erika Suderburg) (London, Minneapolis: University of Minnesota Press,1996).
  • Expanded Cinema by Gene Youngblood (New York: E.P. Dutton & Company, 1970).
  • The Problematic of Video Art in the Museum 1968-1990 by Cyrus Manasseh (Cambria Press, 2009).
  • "First Electronic Art Show" by (Niranjan Rajah & Hasnul J Saidon) (National Art Gallery, Kuala Lumpur, 1997)
  • "Expanded Cinema", (David Curtis, A. L. Rees, Duncan White, and Steven Ball, eds), Tate Publishing, 2011[2]
  • "Retrospektiv-Film-org videokunst| Norge 1960-90". Edited by Farhad Kalantary & Linn Lervik. Atopia Stiftelse, Oslo, (April 2011).[3]
  • Experimental Film and Video, Jackie Hatfield, Editor. (John Libbey Publishing, 2006; distributed in North America by Indiana University Press)[4]
  • "REWIND: British Artists' Video in the 1970s & 1980s", (Sean Cubitt, and Stephen Partridge, eds), John Libbey Publishing, 2012.[5]
  • Reaching Audiences: Distribution and Promotion of Alternative Moving Image by Julia Knight and Peter Thomas (Intellect, 2011)[6]
  • Wulf Herzogenrath: Videokunst der 60er Jahre in Deutschland, Kunsthalle Bremen, 2006, (No ISBN).
  • Rudolf Frieling & Wulf Herzogenrath: 40jahrevideokunst.de: Digitales Erbe: Videokunst in Deutschland von 1963 bis heute, Hatje Cantz Verlag, 2006, ISBN 978-3-7757-1717-5.
  • NBK Band 4. Time Pieces. Videokunst seit 1963. Verlag der Buchhandlung Walther König, Köln, 2013, ISBN 978-3-86335-074-1.
  • 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.[7]
  1. ^ Cubitt, Sean (2012). REWIND British Artists' Video in the 1970s & 1980s. John Libbey Publishing. ISBN 978-0861967063.
  2. ^ "Tate Online Shop". tate.org.uk.
  3. ^ "ATOPIA : Retrospective Exhibition". atopia.no.
  4. ^ "John Libbey Publishing - Animation book Publisher-Experimental Film and Video Anthology". johnlibbey.com.
  5. ^ Cubitt, Sean (2012). REWIND British Artists' Video in the 1970s & 1980s. John Libbey Publishing. ISBN 978-0861967063.
  6. ^ "Intellect". intellectbooks.co.uk.
  7. ^ Valentino Catrical脿. "Cronologia della videoarte italiana 1952-1992". academia.edu.
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