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Gateways to Art the Difference Between Film and Video Is

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Fine art form using video engineering science

Video art is an art course which relies on using video technology as a visual and audio medium. Video art emerged during the tardily 1960s as new consumer video applied science such as video tape recorders became available outside corporate broadcasting. Video art can take many forms: recordings that are circulate; installations viewed in galleries or museums; works streamed online, distributed as video tapes, or DVDs; and performances which may incorporate one or more than television receiver sets, video monitors, and projections, displaying live or recorded images and sounds.[1]

Video art is named for the original analog video tape, which was the most normally used recording technology in much of the class history into the 1990s. With the advent of digital recording equipment, many artists began to explore digital technology as a new way of expression.

One of the central differences between video art and theatrical picture palace is that video art does not necessarily rely on many of the conventions that define theatrical picture palace. Video art may non employ the utilize of actors, may contain no dialogue, may have no discernible narrative or plot, and may non adhere to any of the other conventions that generally define motion pictures equally entertainment. This distinction also distinguishes video art from cinema's subcategories such as avant garde cinema, short films, or experimental flick.

Early history [edit]

Nam June Paik, a Korean-American artist who studied in Federal republic of germany, is widely regarded as a pioneer in video art.[2] [iii] In March 1963 Nam June Paik showed at the Galerie Parnass in Wuppertal the Exposition of Music – Electronic Television.[4] [5] In May 1963 Wolf Vostell showed the installation 6 Boob tube Dé-coll/historic period at the Smolin Gallery in New York and created the video Sun in your caput in Cologne. Originally Sun in your head was fabricated on 16mm motion picture and transferred 1967 to videotape.[six] [seven] [8]

Video art is often said to have begun when Paik used his new Sony Portapak to shoot footage of Pope Paul Half dozen's procession through New York City in the autumn of 1965[ix] Afterward that same 24-hour interval, across town in a Greenwich Village cafe, Paik played the tapes and video art was born.

Prior to the introduction of consumer video equipment, moving image production was just available non-commercially via 8mm film and 16mm film. Afterwards 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 fine art, operation, and experimental moving picture. These include Americans Vito Acconci, Valie Export, John Baldessari, Peter Campus, Doris Totten Hunt, Maureen Connor, Norman Cowie, Dimitri Devyatkin, Frank Gillette, Dan Graham, Gary Hill, Joan Jonas, Bruce Nauman, Nam June Paik, Neb Viola, Shigeko Kubota, Martha Rosler, William Wegman, and many others. There were besides those such as Steina and Woody Vasulka who were interested in the formal qualities of video and employed video synthesizers to create abstract works. Kate Craig,[10] Vera Frenkel[11] and Michael Snowfall[12] were important to the development of video art in Canada.

In the 1970s [edit]

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 ii Sony Portapaks through an electronic mixer, resulting in a distorted and radically dissonant prototype. Another representative piece, Joan Jonas' Vertical Whorl, involved recording previously-recorded fabric of Jonas dancing while playing the videos dorsum on a television, resulting in a layered and complex representation of mediation.

A however from Jonas' 1972 video

Much video art in the United States was produced out of New York City, with The Kitchen, founded in 1972 past Steina and Woody Vasulka (and assisted by video manager Dimitri Devyatkin and Shridhar Bapat), serving every bit a nexus for many immature artists. An early on multi-aqueduct video art work (using several monitors or screens) was Wipe Bike by Ira Schneider and Frank Gillette. Wipe Bike was first exhibited at the Howard Wise Gallery in New York in 1969 equally function 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 fabric was alternated from 1 monitor to the adjacent in an elaborate choreography.


On the West coast, the San Jose Land tv set 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 Brunt (1973), Lowell Darling (1974), and Dennis Oppenheim (1974). Also in 1970, Precipitous curated "Trunk Works", an exhibition of video works past Vito Acconci, Terry Trick, 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 Consign's groundbreaking video piece, "Facing a Family" (1971) was one of the showtime instances of boob tube intervention and broadcasting video art. The video, originally broadcast on the Austrian television plan "Kontakte" February 2, 1971,[eleven] shows a bourgeois Austrian family watching TV while eating dinner, creating a mirroring upshot for many members of the audience who were doing the same thing. Export believed the television could complicate the human relationship between subject, spectator, and goggle box.[13] [xiv] In the United Kingdom David Hall's "Goggle box Interruptions" (1971) were transmitted intentionally unannounced and uncredited on Scottish TV, the start artist interventions on British television.

1980s-1990s [edit]

Equally the prices of editing software decreased, the admission the general public had to utilize these technologies increased. Video editing software became then readily available that it changed the way digital media artists and video artists interacted with the mediums. Different themes emerged and were explored in the artists work, such every bit interactivity and nonlinearity. Criticisms of the editing software focused on the freedom that was created for the artists through the technology, but not for the audition. Some artists combined physical and digital techniques to allow their audience to physically explore the digital work. An instance of this is Jeffrey Shaw's "Legible City" (1988–91). In this piece the "audience" rides a stationary bicycle through a virtual images of Manhattan, Amsterdam, and Karlsrule. The images alter depending on the management of the wheel handles, and the speed of the pedaler. This created a unique virtual experience for every participant.

After 2000 [edit]

Equally technology and editing techniques have evolved since the emergence of video as an fine art form, artists have been able to experiment more with video art without using any of their own content. Marco Brambilla's Civilisation (2008) shows this technique. Brambilla attempts to make a video version of a collage, or a "video landscape" [15] by combining various clips from movies, and editing them to portray heaven and hell.[16]

There are artists today who have inverse the manner video fine art is perceived and viewed. In 2003, Kalup Linzy created Conversations Wit De Churen II: All My Churen, a soap opera satire that has been credited as creating the video and performance sub-genre[17] Although Linzy'southward piece of work is genre defying his work has been a major contribution to the medium. Ryan Trecartin, and experimental young video-artist, uses color, editing techniques and bizarre acting to portray what The New Yorker calls "a cultural watershed".[18] [19] Trecartin played with the portrayal of identity and concluded up producing characters who "can be many people at the same time".[18] When asked about his characters, Trecartin explained that he visualized that each person's identity was fabricated upward of "areas" and that they could all be very different from each other and be expressed at different times.[18] Ryan Trecartin is an innovative artist who has been said to have "changed the way we appoint with the world and with ane another"[19] through video art. A series of videos made by Trecartin titled I-Be-AREA displayed this, ane case is I-Be-AREA (Pasta and Wendy One thousand-PEGgy), which was made public in 2008, which portrays a character named Wendy who behaves erratically. When asked almost his characters, Trecartin explained that he visualized that each person'due south identity was fabricated upwardly of "areas" and that they could all be very different from each other and be expressed at different times.[eighteen] Ryan Trecartin is an innovative artist who has been said to have "changed the mode we engage with the globe and with 1 some other"[nineteen] through video art. In 2008, New York Times The netherlands Cotter writes, 'A large difference between his work and Mr. Trecartin's is in the degree of digital engagement. Mr. Trecartin goes wild with editing bells and whistles; Mr. Linzy does not. The plainness and occasional clunkiness of his video technique is one reason the Braswell serial ends upward touching in a style that Mr. Trecartin'southward buzzed-up narratives rarely are. For all their raunchy hilarity Mr. Linzy's characters are more cartoons; "All My Churen" is a family-values story that has a lot to do with life.[xx]

Functioning art and video art [edit]

Video art as a medium can as well be combined with other forms of creative expression such as Operation fine art. This combination can as well be referred to as "media and performance fine art" [21] when artists "break the mold of video and film and broaden the boundaries of art".[21] With increased ability for artists to obtain video cameras, operation art started being documented and shared across large amounts of audiences.[22] Artists such every bit Marina Abramovic and Ulay experimented with video taping their performances in the 1970s and the 1980s. In a piece titled "Rest free energy" (1980) both Ulay and Marina suspended their weight and then that they pulled back a bow and pointer aimed at her eye, Ulay held the pointer, and Marina the bow. The piece was 4:10 which Marina described equally existence "a performance about complete and full trust".[23]

Other artists who combined Video art with Performance art used the camera as the audience. Kate Gilmore experimented with the positioning of the photographic camera. In her video "Annihilation" (2006) she films her functioning piece as she is constantly trying the achieve the camera which is staring down at her. Every bit the 13-minute video goes on, she continues to tie together pieces of furniture while constantly attempting to reach the camera. Gilmore added an element of struggle to her art which is sometimes self-imposed,[24] in her video "My love is an anchor" (2004) she lets her human foot dry in cement before attempting to break free on camera.[25] Gilmore has said to have mimicked expression styles from the 1960s and 1970s with inspirations similar Marina Abramovic equally she adds extremism and struggle to her work.[26]

Some artists experimented with space when combining Video art and Performance art. Ragnar Kjartannson, an Icelandic artist, filmed an entire music video with nine different artists, including himself, being filmed in different rooms. All the artists could hear each other through a pair of headphones so that they could play the song together, the piece was titled "The visitors" (2012).[27]

Some artists, such equally Jaki Irvine and Victoria Fu accept experimented with combining 16 mm film, eight mm moving picture and video to brand use of the potential aperture between moving image, musical score and narrator to undermine any sense of linear narrative. [28]

Every bit an academic subject area [edit]

Since 2000, video arts programs accept begun to emerge among colleges and universities as a standalone discipline typically situated in relation to film and older circulate curricula. Current models found in universities like Northeastern and Syracuse bear witness video arts offering baseline competencies in lighting, editing and camera operation. While these fundamentals tin feed into and support existing film or TV product areas, contempo growth of entertainment media through CGI and other special effects situate skills similar animation, motility graphics and computer aided design as upper level courses in this emerging surface area.

Notable video fine art organizations [edit]

  • Ars Electronica Center (AEC), Linz, Republic of austria
  • Edith-Russ-Haus for Media Art, Oldenburg, Germany
  • Electronic Arts Intermix, New York, NY
  • Experimental Television Centre, New York
  • Goetz Drove, Munich, Germany
  • Imai – inter media art constitute, Düsseldorf
  • Impakt Festival, Utrecht
  • Julia Stoschek Drove, Düsseldorf, Germany
  • Kunstmuseum Bonn, large video art drove
  • LA Freewaves is an experimental media art festival with video art, shorts and animation; exhibitions are in Los Angeles and online.
  • Lumen Eclipse – Harvard Square, MA
  • LUX, London, U.k.
  • London Video Arts, London, Britain
  • Neuer Berliner Kunstverein with its "Video-Forum" established in 1971 – Berlin, Frg
  • Perpetual fine art machine, New York
  • Raindance Foundation, New York
  • Souvenirs from Earth, Art TV Station on European Cable Networks (Paris, Cologne)
  • Vtape, Toronto, Canada
  • Videoart at Midnight, an artists' movie house project, Berlin, Germany
  • Video Information Banking company, Chicago, IL.
  • VIVO Media Arts Center, Vancouver, Canada
  • ZKM Center for Art and Media Karlsruhe, Deutschland
  • Videobrasil, Associação Cultural Videobrasil, São Paulo, Brazil

Meet too [edit]

  • Artmedia
  • Experimental film
  • INFERMENTAL
  • Interactive film
  • Listing of video artists
  • Music video
  • Music visualization
  • New media art
  • Optical feedback
  • Real-fourth dimension computer graphics
  • Scratch video
  • Single-channel video
  • Sound art
  • Video jockey
  • Video poesy
  • Video sculpture
  • Video synthesizer
  • Visual music
  • VJ (video performance artist)

References [edit]

  1. ^ Hartney, Mick. "Video art" Archived 2011-ten-17 at the Wayback Machine, MoMA, accessed Jan 31, 2011
  2. ^ "Archived re-create" (PDF). Archived (PDF) from the original on 2016-03-04. Retrieved 2016-05-xvi . {{cite spider web}}: CS1 maint: archived copy as title (link)
  3. ^ Judkis, Maura (12 December 2012). "Nam June Paik at the Smithsonian American Art Museum opens December. 13". washingtonpost.com. Archived from the original on nine August 2017. Retrieved 9 May 2018.
  4. ^ Netz, Medien Kunst (9 May 2018). "Medien Kunst Netz - Exposition of Music – Electronic Television". www.medienkunstnetz.de. Archived from the original on 9 August 2017. Retrieved 9 May 2018.
  5. ^ Net, Media Art (9 May 2018). "Media Art Net - Exhibition unknown". www.medienkunstnetz.de. Archived from the original on 9 August 2017. Retrieved 9 May 2018.
  6. ^ NBK Band iv. Time Pieces. Videokunst seit 1963. Verlag der Buchhandlung Walther König, Köln, 2013, ISBN 978-3-86335-074-i
  7. ^ Net, Media Art (9 May 2018). "Media Art Cyberspace - Vostell, Wolf: Television Décollage". world wide web.medienkunstnetz.de. Archived from the original on 11 May 2012. Retrieved 9 May 2018.
  8. ^ Net, Media Fine art (9 May 2018). "Media Art Net - Vostell, Wolf: Sun in Your Head". www.medienkunstnetz.de. Archived from the original on viii October 2017. Retrieved 9 May 2018.
  9. ^ Laura Cumming (December 19, 2010), Nam June Paik – review Archived 2016-11-26 at the Wayback Motorcar Nam June Paik The Guardian.
  10. ^ Marsh, James H (1985-01-01). The Canadian encyclopedia. Edmonton: Hurtig Publishers. ISBN088830269X. OCLC 12578727.
  11. ^ "Vera Frenkel: Archive Fevers - Canadian Art". Canadian Art. Archived from the original on 2016-ten-22. Retrieved 2016-x-22 .
  12. ^ Elwes, Catherine (2006-04-26). Video Art, A Guided Tour: A Guided Tour. I.B.Tauris. ISBN9780857735959. Archived from the original on 2018-05-09.
  13. ^ "Electronic Arts Intermix: Facing a Family, Valie Export". eai.org. Archived from the original on 2010-12-25.
  14. ^ Cavoulacos, Sophie (2021-12-21). "VALIE EXPORT's Facing a Family". Museum of Modern Art New York (MoMA) . Retrieved 2022-01-28 . {{cite web}}: CS1 maint: url-status (link)
  15. ^ "Marco Brambilla: Civilization". Motionographer. 2009-03-sixteen. Archived from the original on 2018-03-31. Retrieved 2018-03-03 .
  16. ^ "Civilization (Hell and Heaven) by Marco Brambilla". world wide web.seditionart.com. Archived from the original on 2018-03-31. Retrieved 2018-03-03 .
  17. ^ 'Theatre of the Self, Performing who you are'.
  18. ^ a b c d Tomkins, Calvin (2014-03-17). "Experimental People". The New Yorker. ISSN 0028-792X. Archived from the original on 2018-03-31. Retrieved 2018-03-30 .
  19. ^ a b c Solway, Diane. "What You lot Demand to Know Nearly Lizzie Fitch and Ryan Trecartin, the Artists Behind Kendall and Gigi'due south W Cover Story". Westward Magazine. Archived from the original on 2018-03-31. Retrieved 2018-03-30 .
  20. ^ Cotter, The netherlands. "Video Art Thinks Big: That's Showbiz". Retrieved 2018-08-28 .
  21. ^ a b "MoMA | Performing for the Photographic camera". www.moma.org. Archived from the original on 2018-03-31. Retrieved 2018-03-03 .
  22. ^ "MoMA | Operation into Art". www.moma.org. Archived from the original on 2017-12-15. Retrieved 2018-03-03 .
  23. ^ "Museum of Modernistic Art | MoMA". world wide web.moma.org. Archived from the original on 2018-03-31. Retrieved 2018-03-02 .
  24. ^ "Kate Gilmore | LANDMARKS". landmarks.utexas.edu. 16 March 2015. Archived from the original on 2016-08-23. Retrieved 2018-03-02 .
  25. ^ "Interruption on Through". 2009-07-01. Archived from the original on 2018-03-20. Retrieved 2018-03-02 .
  26. ^ "Kate Gilmore: Body of Work | MOCA Cleveland". mocacleveland.org. Archived from the original on 2018-03-twenty. Retrieved 2018-03-03 .
  27. ^ "Art Star Ragnar Kjartansson Moves People To Tears, Over And Over". NPR.org. Archived from the original on 2018-03-31. Retrieved 2018-03-02 .
  28. ^ "Jaki Irvine".

Further reading [edit]

  • Making Video 'In' - The Contested Ground of Alternative Video On The West Declension Edited by Jennifer Abbott (Satellite Video Exchange Society, 2000).
  • Videography: Video Media as Art and Culture by Sean Cubitt (MacMillan, 1993).
  • A History of Experimental Film and Video by A. Fifty. Rees (British Film Establish, 1999).
  • New Media in Late 20th-Century Art by Michael Rush (Thames & Hudson, 1999).
  • Mirror Machine: Video and Identity, edited by Janine Marchessault (Toronto: YYZ Books, 1995).
  • Sounding the Gallery: Video and the Rising of Fine art Music by Holly Rogers (New York: Oxford Academy Press, 2013).
  • Video Civilization: A Critical Investigation, edited by John G. Hanhardt (Visual Studies Workshop Press, 1986).
  • Video Fine art: A Guided Tour by Catherine Elwes (I.B. Tauris, 2004).
  • A History of Video Fine art by Chris Meigh-Andrews (Berg, 2006)
  • Diverse Practices: A Critical Reader on British Video Art edited past Julia Knight (University of Luton/Arts Council England, 1996)
  • ARTFORUM February 1993 "Travels In The New Mankind" by Howard Hampton (Printed by ARTFORUM INTERNATIONAL 1993)
  • Resolutions: Contemporary Video Practices', (eds. Renov, Michael & Erika Suderburg) (London, Minneapolis: University of Minnesota Press,1996).
  • Expanded Picture palace past Gene Youngblood (New York: E.P. Dutton & Visitor, 1970).
  • The Problematic of Video Art in the Museum 1968-1990 past Cyrus Manasseh (Cambria Press, 2009).
  • "First Electronic Art Show" by (Niranjan Rajah & Hasnul J Saidon) (National Fine art Gallery, Kuala Lumpur, 1997)
  • "Expanded Cinema", (David Curtis, A. L. Rees, Duncan White, and Steven Ball, eds), Tate Publishing, 2011
  • "Retrospektiv-Picture-org videokunst| Norge 1960-90". Edited by Farhad Kalantary & Linn Lervik. Atopia Stiftelse, Oslo, (Apr 2011).
  • Experimental Film and Video, Jackie Hatfield, Editor. (John Libbey Publishing, 2006; distributed in North America by Indiana University Press)
  • "REWIND: British Artists' Video in the 1970s & 1980s", (Sean Cubitt, and Stephen Partridge, eds), John Libbey Publishing, 2012.
  • Reaching Audiences: Distribution and Promotion of Alternative Moving Image by Julia Knight and Peter Thomas (Intellect, 2011)
  • Wulf Herzogenrath: Videokunst der 60er Jahre in Deutschland, Kunsthalle Bremen, 2006, (No ISBN).
  • Rudolf Frieling & Wulf Herzogenrath: 40jahrevideokunst.de: Digitales Erbe: Videokunst in Federal republic of germany von 1963 bis heute, Hatje Cantz Verlag, 2006, ISBN 978-3-7757-1717-5.
  • NBK Ring 4. Time Pieces. Videokunst seit 1963. Verlag der Buchhandlung Walther König, Köln, 2013, ISBN 978-3-86335-074-1.
  • Demolden Video Projection: 2009-2014. Video Art Gallery, Santander, Espana, 2016, ISBN 978-84-16705-forty-v.
  • Valentino Catricalà, Laura Leuzzi, Cronologia della videoarte italiana, in Marco Maria Gazzano, KINEMA. Il cinema sulle tracce del cinema. Dal motion picture alle arti elettroniche andata e ritorno, Exorma, Roma 2013.

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Source: https://en.wikipedia.org/wiki/Video_art

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