By Chris Meigh-Andrews
A historical past of Video artwork is a revised and increased variation of the 2006 unique, which extends the scope of the 1st variation, incorporating a much broader diversity of artists and works from around the globe and explores and examines advancements within the style of artists’ video from the mid Nineteen Nineties as much as the current day. moreover, the recent variation expands and updates the dialogue of theoretical innovations and concepts which underpin modern artists’ video.
Tracking the altering varieties of video artwork with regards to the revolution in digital and electronic imaging that has taken position over the past 50 years, A background of Video artwork orients video artwork within the wider paintings historic context, with specific connection with the shift from the structuralism of the past due Sixties and early Seventies to the post-modernist matters of the Eighties and early Nineteen Nineties. the hot variation additionally explores the results of the internationalisation of artists’ video within the interval best as much as the recent millennium and its matters and preoccupations together with post-colonialism, the post-medium situation and the effect and impression of the internet.
“Meigh-Andrews perspectives his historical past throughout the lens of technological improvement, while by no means wasting sight of the numerous artists' artistic and subjective visions, which he covers via consultant case reports of important works. The large new photograph learn bargains resonant pictures that evoke thoughts for a few and discovery for brand new readers. This ebook is vital analyzing for all scholars, students, artists and curators who're drawn to the subject.” – Professor Stephen Partridge, artist and vital Investigator for REWIND | Artists' Video within the Seventies & 80s, Duncan of Jordanstone university of artwork and layout, collage of Dundee, UK
“No different author on video has Meigh-Andrews' seize of the sensation of operating with digital media, in all their types because the Sixties: the artist's viewpoint on making and exhibiting. With new fabric increasing the temporal and geographic achieve of the ebook, A heritage of Video artwork is the fundamental consultant to the artwork shape that greater than the other defines seeing during the last part century.” – Sean Cubitt, Professor of movie and tv, Goldsmiths, college of London, UK
“Covering either video artwork many different comparable media applied sciences and paintings sorts of the second one a part of the twentieth century, this e-book is a stupendous and designated source. I hugely suggest to anyone drawn to the historical past, aesthetics, and social context of media art.” – Lev Manovich, Professor, The Graduate middle, urban college of latest York, united states and Director, software program reports Lab
“Meigh-Andrews’ personal major contribution to video perform and his visible familiarity with the British video artwork scene has led to an insightful consultant to the improvement of the medium and the encompassing discourses. The ebook is a perfect advent to video for the coed or common reader whereas delivering for the historian of up to date artwork a good key for beginning up the complexities of the ancient and technological nuances of the medium.” – Samantha Lackey, “Screen Studies”, The paintings booklet, Vol. 14, factor three, August 2007, Blackwell Synergy, pp 63-64 (First variation review)
“An very good and great addition to modern writing on video artwork. It has what many of the different books are lacking: it has even more aspect at the know-how at the back of the cameras, modifying structures and installations; it situates video artwork when it comes to the opposite artwork routine; and it bargains an in-depth dialogue of video art's hyperlinks to experimental tune. in the event you (or your scholars) have entry to the Video information financial institution "Surveying the 1st Decade," this e-book is a brilliant praise to the various movies featured during this assortment. It presents special money owed of many key works and is very robust on figures like Woody and Steina Vasulka, British video paintings and eu video paintings which loads of books forget about completely. i'd suggest this in tandem with Illuminated Video.” – Andrew Dimirjian, NYC, US (First variation overview)
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Extra resources for A History of Video Art (2nd Edition)
I also made negative TV, a set in which the blacks and whites were reversed; the picture was without sync too, so that it just floated across the screen, always in motion. I made a set with a microphone so that when you talked, the TV line moved… . 21 For his exhibition at Galerie Parnass Paik extended an idea previously explored for his 1961 exhibition ‘Symphony for 20 Rooms’. In ‘Exposition of Music-Electronic Television’ Paik exhibited a range of musical and visual objects throughout the rooms and gardens of the gallery.
Since the late 1970s there have been a number of important exhibitions of artists’ video in Germany. Wulf Herzogenrath (1944, Germany) has been particularly active, curating the first video section at ‘Documenta 6’ in 1977, as well as the first major historical survey of video installation Videoskulptur; Retrospectiv und Aktuel. 1963–89, which toured Europe in 1989. In addition to these important showcase exhibitions, a number of important international video festivals such as the Videonale Bonn, the European Media Art Festival Osnabrück, and the International Media Art Festival transmediale in Berlin were set up in the 1980s.
This theme was tied into an examination of the nature of the medium and its potential for the communication of abstract ideas. Beginning with An Objective Transmission, considered to be the first Polish video installation (1973), Jozef Robakowski began to explore the potential of live video performance work, a genre that became one of the most prevalent forms of video art in Poland during the 1970s. 15 Robakowski’s videotapes such as Memory of L. Brezhnev (1982), and Art is Power (1985) (discussed in more detail in Chapter 9), can be seen as examples of his ideas about the complex relationship between artists’ video and broadcast television.
A History of Video Art (2nd Edition) by Chris Meigh-Andrews