By Chris Meigh-Andrews
A background of Video artwork is a revised and improved version of the 2006 unique, which extends the scope of the 1st version, incorporating a much wider variety of artists and works from around the globe and explores and examines advancements within the style of artists’ video from the mid Nineties as much as the current day. moreover, the hot variation expands and updates the dialogue of theoretical options and ideas which underpin modern artists’ video.
Tracking the altering varieties of video paintings on the subject of the revolution in digital and electronic imaging that has taken position over the last 50 years, A historical past of Video artwork orients video paintings within the wider artwork historic context, with specific connection with the shift from the structuralism of the past due Nineteen Sixties and early Seventies to the post-modernist matters of the Eighties and early Nineteen Nineties. the hot version additionally explores the consequences of the internationalisation of artists’ video within the interval best as much as the hot millennium and its issues and preoccupations together with post-colonialism, the post-medium situation and the influence and impact of the internet.
“Meigh-Andrews perspectives his heritage during the lens of technological improvement, while by no means wasting sight of the various artists' inventive and subjective visions, which he covers via consultant case reports of vital works. The wide new photograph learn bargains resonant pictures that evoke thoughts for a few and discovery for brand spanking new readers. This e-book is key examining for all scholars, students, artists and curators who're drawn to the subject.” – Professor Stephen Partridge, artist and critical Investigator for REWIND | Artists' Video within the Nineteen Seventies & 80s, Duncan of Jordanstone university of artwork and layout, college of Dundee, UK
“No different author on video has Meigh-Andrews' clutch of the sensation of operating with digital media, in all their kinds because the Nineteen Sixties: the artist's point of view on making and exhibiting. With new fabric increasing the temporal and geographic achieve of the e-book, A heritage of Video artwork is the fundamental consultant to the paintings shape that greater than the other defines seeing during the last part century.” – Sean Cubitt, Professor of movie and tv, Goldsmiths, collage of London, UK
“Covering either video paintings many different comparable media applied sciences and artwork types of the second one a part of the twentieth century, this booklet is a ravishing and particular source. I hugely suggest to anyone drawn to the historical past, aesthetics, and social context of media art.” – Lev Manovich, Professor, The Graduate heart, urban college of recent York, united states and Director, software program reviews Lab
“Meigh-Andrews’ personal major contribution to video perform and his noticeable familiarity with the British video paintings scene has ended in an insightful consultant to the advance of the medium and the encircling discourses. The booklet is a perfect creation to video for the scholar or common reader whereas supplying for the historian of up to date artwork an efficient key for establishing up the complexities of the historic and technological nuances of the medium.” – Samantha Lackey, “Screen Studies”, The artwork ebook, Vol. 14, factor three, August 2007, Blackwell Synergy, pp 63-64 (First version review)
“An very good and welcome boost to modern writing on video artwork. It has what many of the different books are lacking: it has even more element at the know-how in the back of the cameras, enhancing platforms and installations; it situates video paintings when it comes to the opposite paintings events; and it bargains an in-depth dialogue of video art's hyperlinks to experimental track. for those who (or your scholars) have entry to the Video information financial institution "Surveying the 1st Decade," this ebook is a smart praise to a few of the movies featured during this assortment. It offers targeted bills of many key works and is especially powerful on figures like Woody and Steina Vasulka, British video paintings and eu video paintings which loads of books forget about totally. i'd suggest this in tandem with Illuminated Video.” – Andrew Dimirjian, NYC, US (First version overview)
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Extra info for A History of Video Art (2nd Edition)
Rosler is critical of Paik’s position as a mythical figure, claiming that his activities did not advance the cause of a radical video art but simply reinforced the dominant social discourse of the day: He neither analyzed TV messages or effects, nor provided a counter discourse based on rational exchange, nor made its technology available to others. 30 American video artist Woody Vasulka identified Paik’s ambition for video art as one dedicated to elevating the genre to be of equal status to painting or sculpture, and it became a crusade that was increasingly tied in to his own ambitions as an artist.
For example in Call Until Exhaustion (1972) Gerz documented his efforts to shout ‘hello’ at a video camera 60 yards away. indd 25 25 10/09/2013 09:45 26 the origins of video art to his own body and the problems of human communication. Kahlen also made a number of significant sculptural video installations using simple natural objects. In works such as Video Object I, II and III, for example, he juxtaposed live video images of chunks of granite with the real material. Kahlen and Wolf Vostell initiated the earliest and most important collection of German video art at the Neuer Berliner Kunstverein in 1972.
An example of this approach was Black Gate Cologne produced in 1968 by Otto Piene (1928, Germany) and Aldo Tambellini (1930, USA) for WDR, a 30-minute work made from the documentation of an installation which presented superimposed film projections and the interactions of polyethylene tubing with electronically coloured shapes. The most prolific area of activity in early German video art was in the relationship between the recording process, physical action and the body in which artists such as Ulrike Rosenbach (1943, Germany), Jochen Gerz (1940, Germany), Christina Kubisch (1948, Germany) and Rebecca Horn (1944, Germany) took up the medium’s potential as a tool for the documentation of live performance.