The Videomonster: The Immense and Fragile Hope of Popular Art
- Author
- Pierre Restany
- Publication
- Domus
- Date
- June 1975
- ETC archive
- ETC0733
Cite this record
Pierre Restany. The Videomonster: The Immense and Fragile Hope of Popular Art. Domus. June 1975.
Download RIS citationSubmit a change or correction
Last modified 22 June 2011
Related records
- The Success of the Failure of Video Art Bibliography
- Video Art: Stayin' Alive Bibliography
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 Issue of Video Art Bibliography
- Video Art: A Guided Tour Bibliography
Video art dominates the international art world to such an extent that its heady days on the radical fringes are sometimes overlooked--often unknown. This book is an essential and highly entertaining guide to video art and its history. Elwes, herself a pioneer of early video, traces the story from t…
- Video Acts: Single Channel Works from the Collections of Pamela and Richard Kramlich and the New Art Trust Bibliography
historical overview of video art created for display on a single monitor, with more than 100 pieces, dating from the mid-60s through 2000, including numerous landmarks in the development of this young medium by Marina Abramovic, Gilbert & George, Acconci, Jonas, and Nauman, as well as more recent wo…
- Video: The Reflexive Medium Bibliography
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.