Video art

A picture of Nam June Paik's Electronic Superhighway: Continental U.S., Alaska, Hawaii 1995

Video art is a type of art which relies on moving pictures and comprises video and/or audio data. 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 delineates video art from cinema's subcategories (avant garde cinema, short films, or experimental films, etc).

Early History of Video Art

Nam June Paik is widely regarded as a pioneer in video art.[2][3] 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[4] 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, 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.

Video Art In The 70s

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.[5] 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.

Video Art In The 00s

The digital video "revolution" of the 1990s has given wide access to sophisticated editing and control technology, allowing many artists to work with video and to create interactive installations based on video. Some examples of recent trends in video art include entirely digitally rendered environments created with no camera and video that responds to the movements of the viewer or other elements of the environment. The Internet has also been used to allow control of video in installations from the World Wide Web or from remote locations.

Video Art Today

Video "Dangerous Red" by Sabina Shikhlinskaya, Tou Scene art center, Stavanger, Norway, 2010

Notable pioneering video artists also emerged more or less simultaneously in Europe and elsewhere with work by Nan Hoover (Netherlands), Domingo Sarrey (Spain), Juan Downey (Chile), Wolf Vostell (Germany), Slobodan Pajic (France), Wolf Kahlen (Germany), Peter Weibel (Austria), David Hall (UK), Paul Wong (Artist) (Canada), Lisa Steele (Canada), Colin Campbell (Canada), Miroslaw Rogala (Poland), Danny Matthys, Chantal Akerman (Belgium), Akram Zaatari (Lebanon), Mireille Astore (Lebanon/Australia) and others.

Emerging in the 1970s, Bill Viola, Nan Hoover, and Gary Hill (USA) continue as celebrated video artists. Matthew Barney, the creator of the Cremaster Cycle, is another well-known American video artist. Other contemporary video artists of note include Eija-Liisa Ahtila (Finland), Arambilet (Dominican Republic – Spain), Fred Forest (France), David Hall (UK), Tony Oursler (USA), Mary Lucier (USA), Paul Pfeiffer, Sadie Benning, Paul Chan, Eve Sussman, Paul Kuniholm Pauper and Miranda July; Eija-Liisa Ahtila (Finland), Kirill Preobrazhenskiy (Russia), Pipilotti Rist (Switzerland); Surekha (India); Stefano Pasquini (Italy); Shaun Wilson (Australia); Stan Douglas (Canada); Douglas Gordon (UK); Olga Kisseleva (Russia); Anne-Mie van Kerckhoven (Belgium); Martin Arnold (Austria); Matthias Müller (Germany), Heiko Daxl (Germany); Gillian Wearing (UK); Stefano Cagol (Italy); Helene Black (Cyprus); Shirin Neshat (Iran/USA); Aernout Mik (Netherlands), Jordi Colomer (Spain/France), Sergei Shutov (Russia), and Walid Raad (Lebanon/USA).

Notable video art organizations

See also

Further reading

References

Wikimedia Commons has media related to Video art.
  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. ↑ http://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. ↑ Laura Cumming (December 19, 2010), Nam June Paik – review Nam June Paik The Guardian.
  5. ↑ "Electronic Arts Intermix: Facing a Family, Valie Export". eai.org.
  6. ↑ "Video Pool Media Arts Centre". Video Pool Media Arts Centre.
  7. ↑ Cubitt, Sean (2012). REWIND British Artists' Video in the 1970s & 1980s. John Libbey Publishing. ISBN 978-0861967063.
  8. ↑ "Tate Online Shop". tate.org.uk.
  9. ↑ "ATOPIA : Retrospective Exhibition". atopia.no.
  10. ↑ "John Libbey Publishing - Animation book Publisher-Experimental Film and Video Anthology". johnlibbey.com.
  11. ↑ Cubitt, Sean (2012). REWIND British Artists' Video in the 1970s & 1980s. John Libbey Publishing. ISBN 978-0861967063.
  12. ↑ "Intellect". intellectbooks.co.uk.
  13. ↑ Valentino Catrical脿. "Cronologia della videoarte italiana 1952-1992". academia.edu.