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Home / According to the Video History of Art What Is the Difference Between Commercialism and Art?

According to the Video History of Art What Is the Difference Between Commercialism and Art?

Fine art grade using video technology

Video fine art is an art course which relies on using video technology as a visual and audio medium. Video fine art emerged during the late 1960s as new consumer video engineering such equally video tape recorders became bachelor outside corporate broadcasting. Video art tin accept many forms: recordings that are circulate; installations viewed in galleries or museums; works streamed online, distributed equally 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.[ane]

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

One of the cardinal 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 non employ the apply 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 fine art from picture palace'due south subcategories such as avant garde cinema, brusque films, or experimental motion picture.

Early 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] [3] In March 1963 Nam June Paik showed at the Galerie Parnass in Wuppertal the Exposition of Music – Electronic Idiot box.[4] [five] In May 1963 Wolf Vostell showed the installation six 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 fabricated on 16mm film and transferred 1967 to videotape.[vi] [seven] [8]

Video fine 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[nine] Later that same day, beyond town 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 but available not-commercially via 8mm film and 16mm picture show. After the Portapak'due south introduction and its subsequent update every few years, many artists began exploring the new technology.

Many of the early 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 Colina, 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 Snowfall[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 example, American artist Peter Campus' Double Vision combined the video signals from ii Sony Portapaks through an electronic mixer, resulting in a distorted and radically anomalous image. Another representative piece, Joan Jonas' Vertical Scroll, 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 past Steina and Woody Vasulka (and assisted past video manager Dimitri Devyatkin and Shridhar Bapat), serving as a nexus for many immature artists. An early multi-aqueduct video art piece of work (using several monitors or screens) was Wipe Bicycle 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 "Goggle box every bit a Creative Medium". An installation of nine television set screens, Wipe Bike combined live images of gallery visitors, found footage from commercial television, and shots from pre-recorded tapes. The fabric was alternated from one monitor to the next in an elaborate choreography.


On the West coast, the San Jose State television studios in 1970, Willoughby Sharp began the "Videoviews" series of videotaped dialogues with artists. The "Videoviews" serial 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, Abrupt curated "Trunk Works", an exhibition of video works by Vito Acconci, Terry Play tricks, 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'due south groundbreaking video piece, "Facing a Family unit" (1971) was one of the first instances of boob tube intervention and broadcasting video fine art. The video, originally broadcast on the Austrian television set programme "Kontakte" February 2, 1971,[11] shows a bourgeois Austrian family unit watching TV while eating dinner, creating a mirroring effect for many members of the audience who were doing the same thing. Consign believed the television could complicate the relationship betwixt subject, spectator, and television.[thirteen] [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]

Equally the prices of editing software decreased, the access the full general public had to utilize these technologies increased. Video editing software became so readily bachelor that information technology inverse the way digital media artists and video artists interacted with the mediums. Different themes emerged and were explored in the artists work, such as interactivity and nonlinearity. Criticisms of the editing software focused on the freedom that was created for the artists through the technology, only not for the audience. Some artists combined concrete and digital techniques to permit their audience to physically explore the digital work. An instance of this is Jeffrey Shaw's "Legible Metropolis" (1988–91). In this piece the "audience" rides a stationary bicycle 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 feel for every participant.

After 2000 [edit]

As engineering 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's Culture (2008) shows this technique. Brambilla attempts to make a video version of a collage, or a "video mural" [fifteen] by combining various clips from movies, and editing them to portray sky and hell.[16]

There are artists today who accept changed the style video art is perceived and viewed. In 2003, Kalup Linzy created Conversations Wit De Churen 2: All My Churen, a lather opera satire that has been credited as creating the video and operation 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] [nineteen] Trecartin played with the portrayal of identity and ended up producing characters who "tin be many people at the same fourth dimension".[xviii] When asked about his characters, Trecartin explained that he visualized that each person'southward identity was fabricated upward of "areas" and that they could all be very dissimilar from each other and exist expressed at different times.[18] Ryan Trecartin is an innovative artist who has been said to have "inverse the manner we engage with the world and with 1 some other"[19] through video art. A series of videos made past Trecartin titled I-BE-Surface area displayed this, 1 case is I-Be-Area (Pasta and Wendy M-PEGgy), which was made public in 2008, which portrays a grapheme named Wendy who behaves erratically. When asked nigh his characters, Trecartin explained that he visualized that each person's identity was fabricated up 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 creative person who has been said to have "changed the way nosotros engage with the world and with one another"[nineteen] through video art. In 2008, New York Times Holland Cotter writes, 'A big departure 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 non. The plainness and occasional clunkiness of his video technique is one reason the Braswell serial ends upwardly touching in a way that Mr. Trecartin'south buzzed-upwardly narratives rarely are. For all their raunchy hilarity Mr. Linzy'south characters are more than 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 as a medium can as well be combined with other forms of creative expression such as Performance art. This combination can as well exist referred to as "media and performance art" [21] when artists "break the mold of video and film and augment the boundaries of fine art".[21] With increased ability for artists to obtain video cameras, operation art started being documented and shared beyond large amounts of audiences.[22] Artists such every bit Marina Abramovic and Ulay experimented with video taping their performances in the 1970s and the 1980s. In a piece titled "Remainder energy" (1980) both Ulay and Marina suspended their weight and so that they pulled dorsum a bow and arrow aimed at her centre, Ulay held the pointer, and Marina the bow. The piece was 4:10 which Marina described equally beingness "a operation virtually complete and total trust".[23]

Other artists who combined Video fine art with Performance fine art used the camera as the audition. Kate Gilmore experimented with the positioning of the camera. In her video "Annihilation" (2006) she films her performance piece every bit she is constantly trying the achieve the camera which is staring down at her. As the 13-minute video goes on, she continues to tie together pieces of piece of furniture while constantly attempting to reach the 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 foot dry in cement before attempting to break free on camera.[25] Gilmore has said to have 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 infinite when combining Video art and Operation art. Ragnar Kjartannson, an Icelandic artist, filmed an entire music video with 9 unlike artists, including himself, beingness filmed in dissimilar 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 xvi mm film, 8 mm motion picture and video to make employ of the potential discontinuity between moving image, musical score and narrator to undermine any sense of linear narrative. [28]

As an bookish 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 amusement 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]

  • Ars Electronica Center (AEC), Linz, Austria
  • Edith-Russ-Haus for Media Fine art, Oldenburg, Germany
  • Electronic Arts Intermix, New York, NY
  • Experimental Television Eye, New York
  • Goetz Collection, Munich, Germany
  • Imai – inter media art plant, Düsseldorf
  • Impakt Festival, Utrecht
  • Julia Stoschek Drove, Düsseldorf, Federal republic of germany
  • Kunstmuseum Bonn, big video art collection
  • LA Freewaves is an experimental media fine art festival with video art, shorts and blitheness; exhibitions are in Los Angeles and online.
  • Lumen Eclipse – Harvard Square, MA
  • LUX, London, UK
  • London Video Arts, London, U.k.
  • Neuer Berliner Kunstverein with its "Video-Forum" established in 1971 – Berlin, Germany
  • Perpetual fine art car, New York
  • Raindance Foundation, New York
  • Souvenirs from Earth, Fine art Goggle box Station on European Cable Networks (Paris, Cologne)
  • Vtape, Toronto, Canada
  • Videoart at Midnight, an artists' cinema projection, Berlin, Frg
  • Video Information Bank, Chicago, IL.
  • VIVO Media Arts Centre, Vancouver, Canada
  • ZKM Centre for Fine art and Media Karlsruhe, Germany
  • Videobrasil, Associação Cultural Videobrasil, São Paulo, Brazil

Run into also [edit]

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

References [edit]

  1. ^ Hartney, Mick. "Video art" Archived 2011-10-17 at the Wayback Machine, MoMA, accessed January 31, 2011
  2. ^ "Archived re-create" (PDF). Archived (PDF) from the original on 2016-03-04. Retrieved 2016-05-sixteen . {{cite web}}: CS1 maint: archived copy equally title (link)
  3. ^ Judkis, Maura (12 December 2012). "Nam June Paik at the Smithsonian American Art Museum opens December. 13". washingtonpost.com. Archived from the original on 9 August 2017. Retrieved 9 May 2018.
  4. ^ Netz, Medien Kunst (nine May 2018). "Medien Kunst Netz - Exposition of Music – Electronic Television". www.medienkunstnetz.de. Archived from the original on 9 August 2017. Retrieved nine May 2018.
  5. ^ Net, Media Art (9 May 2018). "Media Art Net - Exhibition unknown". www.medienkunstnetz.de. Archived from the original on nine August 2017. Retrieved 9 May 2018.
  6. ^ NBK Band iv. Fourth dimension Pieces. Videokunst seit 1963. Verlag der Buchhandlung Walther König, Köln, 2013, ISBN 978-iii-86335-074-1
  7. ^ Net, Media Fine art (ix 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 Fine art Cyberspace - Vostell, Wolf: Sun in Your Caput". www.medienkunstnetz.de. Archived from the original on 8 Oct 2017. Retrieved 9 May 2018.
  9. ^ Laura Cumming (Dec nineteen, 2010), Nam June Paik – review Archived 2016-11-26 at the Wayback Machine Nam June Paik The Guardian.
  10. ^ Marsh, James H (1985-01-01). The Canadian encyclopedia. Edmonton: Hurtig Publishers. ISBN088830269X. OCLC 12578727.
  11. ^ "Vera Frenkel: Archive Fevers - Canadian Fine 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 Tour. I.B.Tauris. ISBN9780857735959. Archived from the original on 2018-05-09.
  13. ^ "Electronic Arts Intermix: Facing a Family unit, Valie Export". eai.org. Archived from the original on 2010-12-25.
  14. ^ Cavoulacos, Sophie (2021-12-21). "VALIE Export'south Facing a Family". Museum of Modern Fine art New York (MoMA) . Retrieved 2022-01-28 . {{cite 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-thirty .
  19. ^ a b c Solway, Diane. "What Yous Need to Know Nigh Lizzie Fitch and Ryan Trecartin, the Artists Behind Kendall and Gigi'south W Encompass Story". W Magazine. Archived from the original on 2018-03-31. Retrieved 2018-03-30 .
  20. ^ Cotter, Holland. "Video Art Thinks Big: That'due south Showbiz". Retrieved 2018-08-28 .
  21. ^ a b "MoMA | Performing for the Photographic camera". world wide web.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". world wide web.moma.org. Archived from the original on 2018-03-31. Retrieved 2018-03-02 .
  24. ^ "Kate Gilmore | LANDMARKS". landmarks.utexas.edu. xvi 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: Body of Work | MOCA Cleveland". mocacleveland.org. Archived from the original on 2018-03-20. 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 West Declension Edited by Jennifer Abbott (Satellite Video Exchange Society, 2000).
  • Videography: Video Media equally Fine art and Civilization 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 Fine 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 Ascension of Art Music by Holly Rogers (New York: Oxford University Press, 2013).
  • Video Civilisation: A Critical Investigation, edited past 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 (University of Luton/Arts Quango 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 Picture palace by Gene Youngblood (New York: East.P. Dutton & Visitor, 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 Movie theatre", (David Curtis, A. Fifty. 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 Northward 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 Prototype past 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-iii-7757-1717-5.
  • NBK Band 4. Fourth dimension Pieces. Videokunst seit 1963. Verlag der Buchhandlung Walther König, Köln, 2013, ISBN 978-three-86335-074-i.
  • Demolden Video Projection: 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 theatre. Dal picture show alle arti elettroniche andata e ritorno, Exorma, Roma 2013.

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