A History of Video Art is a critical introduction and guide to artists' video. It covers the period from the early 1960s - when video art first appeared as a distinctive medium - into the 1990s - when digital technology merged video's distinctive practice with that of independent film-making and photography.This artistic history is also a technological and a cultural history. A History of Video Art also sets its analysis of artistic practice firmly within the context of both the development of electronic imaging technology and the changing political and social climate.Richly illustrated, the book is essential reading for anyone interested in art history and contemporary art practice.ContentsPART 1. THE ORIGINS OF VIDEO ART: THE HISTORICAL AND CULTURAL CONTEXT.1. In The Beginning: The Origins of Video Art.2. Crossing Boundaries: International Tendencies and Influences in Early Artists' Video.3. Technology, Access and Context: Social and Political Activists and Their Role in the Development of Video Art.4. Expanded Cinema: The Influence and Relationship of Experimental, Avant-Garde and "Underground" Film.5. Musique Concrete, Fluxus and Tape Loops: The Influence of Sound Recording and Experimental Music.6. Theory and Practice: The Impact of Theoretical ideas on Early Technology Based Practice.7. Beyond the Lens: Abstract Video Imagery and Image Processing.PART 2: SOME REPRESENTATIVE AND INFLUENTIAL VIDEO ART WORKS AND THEIR TECHNOLOGICAL AND CRITICAL CONTEXT.8. In and Out of the Studio: The Advent of Inexpensive Non-Broadcast Video.9. Cutting It: Accessible Video Editing.10. Mixing it: Electronic/Digital Image Manipulation.11. The Gallery Opens its Doors: Video Installation and Projection.PART 3: THE DEVELOPMENT OF ARTISTS' VIDEO AND INSTALLATION IN RESPONSE TO TECHNOLOGICAL CHANGE AND ACCESSIBILITY12. Fields, Lines & Frames: Video as an Electronic Medium.13. The Means of Production: Feminism, Race, Gender, Technology and Access.14. Off the Wall: Video Sculpture and Installation.15. Going Digital: The Emergence of Digital Video Processing and Effects.16. The End of Video Art?PART 4. REFERENCES
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Chris Meigh-Andrews. A History of Video Art. BERG. 2006.
A History of Video Art is a critical introduction and guide to artists' video. It covers the period from the early 1960s - when video art first appeared as a distinctive medium - into the 1990s - when digital technology merged video's distinctive practice with that of independent film-making and photography. This artistic history is also a technological and a cultural history. A History of Video Art also sets its analysis of artistic practice firmly within the context of both the development of electronic imaging technology and the changing political and social climate. Richly illustrated, the book is essential reading for anyone interested in art history and contemporary art practice. Contents PART 1. THE ORIGINS OF VIDEO ART: THE HISTORICAL AND CULTURAL CONTEXT. 1. In The Beginning: The Origins of Video Art. 2. Crossing Boundaries: International Tendencies and Influences in Early Artists' Video. 3. Technology, Access and Context: Social and Political Activists and Their Role in the Development of Video Art. 4. Expanded Cinema: The Influence and Relationship of Experimental, Avant-Garde and "Underground" Film. 5. Musique Concrete, Fluxus and Tape Loops: The Influence of Sound Recording and Experimental Music. 6. Theory and Practice: The Impact of Theoretical ideas on Early Technology Based Practice. 7. Beyond the Lens: Abstract Video Imagery and Image Processing. PART 2: SOME REPRESENTATIVE AND INFLUENTIAL VIDEO ART WORKS AND THEIR TECHNOLOGICAL AND CRITICAL CONTEXT. 8. In and Out of the Studio: The Advent of Inexpensive Non-Broadcast Video. 9. Cutting It: Accessible Video Editing. 10. Mixing it: Electronic/Digital Image Manipulation. 11. The Gallery Opens its Doors: Video Installation and Projection. PART 3: THE DEVELOPMENT OF ARTISTS' VIDEO AND INSTALLATION IN RESPONSE TO TECHNOLOGICAL CHANGE AND ACCESSIBILITY 12. Fields, Lines & Frames: Video as an Electronic Medium. 13. The Means of Production: Feminism, Race, Gender, Technology and Access. 14. Off the Wall: Video Sculpture and Installation. 15. Going Digital: The Emergence of Digital Video Processing and Effects. 16. The End of Video Art? PART 4. REFERENCES
Just over three years ago, I wrote an essay for Afterimage on current trends in artists' video ("Video Art: Dead or Alive?," Afterimage 24, no. 3). It seemed that during the late 1980s and early 1990s many videomakers, programmers, grant-providers and media librarians had managed changes in the fina…
The first printed catalog of the Video Data Bank's complete holdings, Feedback offers readers essays on the history of media arts, the Video Data Bank, video activism, experimental performance art, and the On Art and Artists Collection. It includes 325 frame grabs and stills from some of the collect…
Sara Hornbacher, Guest Editor, frames eleven articles and reviews and includes Barbara Londons Selected Chronology covering 196393 to outline the brief history of video art. Contributors examine technological and institutional change, including Benjamin Buchloh on developments since the mid-1960s; Katherine Dieckmann on Electra at the Mus6e d'Art Moderne de la Ville de Paris (1984); Lucinda Furlong on image-processed video and Nam June Paik and the marketing of portable video equipment by SONY/Japan; and the rise of media centers funded by state and federal agencies and university programs. Hornbacher is a visual artist, curator and artist-in-residence at The Experimental Television Center, Owego, New York, since 1976.
Survey tracing the development, structures, and critical reception of video art from the late 1960s through the early 1980s; locates influences in the visual arts, literature, film, Dada and Surrealism, Fluxus and John Cage, and nineteenth- and twentieth-century theories of perception. Discusses practitioners and works including Nam June Paik (Global Groove, Paik-Abe synthesizer, TV sculptures), Bill Viola (Hatsu Yume), Stan Brakhage, Bruce Connor, and Juan Downey; notes institutions and events such as the 1974 Open Circuits Conference at MoMA, WNET broadcasts, the Experimental Television Center, and the Whitney Museum.