Get A History of Video Art (2nd Edition) PDF

By Chris Meigh-Andrews

ISBN-10: 0857851888

ISBN-13: 9780857851888

A historical past of Video artwork is a revised and extended variation of the 2006 unique, which extends the scope of the 1st version, 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 Nineties as much as the current day. additionally, the recent version expands and updates the dialogue of theoretical techniques and concepts which underpin modern artists’ video.

Tracking the altering sorts 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 paintings orients video artwork within the wider paintings ancient context, with specific connection with the shift from the structuralism of the overdue Sixties and early Seventies to the post-modernist matters of the Eighties and early 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 and the impression and impression of the internet.

“Meigh-Andrews perspectives his historical past in the course of the lens of technological improvement, when by no means wasting sight of the various artists' inventive and subjective visions, which he covers via consultant case experiences of vital works. The wide new photograph examine deals resonant pictures that evoke thoughts for a few and discovery for brand new readers. This booklet is key studying for all scholars, students, artists and curators who're drawn to the subject.” – Professor Stephen Partridge, artist and primary Investigator for REWIND | Artists' Video within the Seventies & 80s, Duncan of Jordanstone collage of paintings and layout, college of Dundee, UK

“No different author on video has Meigh-Andrews' seize of the sensation of operating with digital media, in all their varieties because the Sixties: the artist's point of view on making and exhibiting. With new fabric increasing the temporal and geographic succeed in of the ebook, A historical past of Video artwork is the fundamental advisor to the artwork shape that greater than the other defines seeing over the past part century.” – Sean Cubitt, Professor of movie and tv, Goldsmiths, college of London, UK

“Covering either video paintings many different comparable media applied sciences and artwork different types of the second one a part of the twentieth century, this ebook is a stupendous and designated source. I hugely suggest to anyone attracted to the background, aesthetics, and social context of media art.” – Lev Manovich, Professor, The Graduate middle, urban collage of latest York, united states and Director, software program reviews Lab

“Meigh-Andrews’ personal major contribution to video perform and his seen familiarity with the British video paintings scene has ended in an insightful consultant to the improvement of the medium and the encircling discourses. The e-book is a perfect creation to video for the scholar or normal reader whereas supplying for the historian of latest paintings a good key for starting up the complexities of the old and technological nuances of the medium.” – Samantha Lackey, “Screen Studies”, The paintings ebook, Vol. 14, factor three, August 2007, Blackwell Synergy, pp 63-64 (First variation review)

“An first-class 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 paintings relating to the opposite artwork hobbies; and it bargains an in-depth dialogue of video art's hyperlinks to experimental song. for those who (or your scholars) have entry to the Video information financial institution "Surveying the 1st Decade," this publication is a smart praise to a number of the video clips featured during this assortment. It offers designated money owed of many key works and is very robust on figures like Woody and Steina Vasulka, British video paintings and ecu video paintings which loads of books forget about completely. i'd suggest this in tandem with Illuminated Video.” – Andrew Dimirjian, NYC, US (First version evaluation)

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Additional info for A History of Video Art (2nd Edition)

Example text

Courtesy of the artist. showroom in the Ginza district of Tokyo and initiated in collaboration with Japanese artists Katsuhiro Yamaguchi and Fujiko Nakaya in February 1972. This event, for which many artists made their first videotapes under the direct guidance and tutelage of Goldberg, featured screenings of these tapes as well as five separate live events using video feedback and time delay. Japanese artists featured in this inaugural exhibition include Toshio Matsumoto, Hakudo Kobyashi, Nobuhiro Kawanaka, Yoshiaki Tono, Tetsuo Matsushita, Michitaka Nakahara, Rikuro Miyai, Masao Komura, Sakumi Hagiwara, Keigo Yamamoto and Shoko Matsushita.

In 1973, Maria Grazia Bicocchi established Art/Tapes/22 in Florence, with American video artist Bill Viola as technical director. Between 1973 and 1976, this pioneering centre produced an astonishing number of videotapes by major American and European artists. The list of artists who visited Art/Tapes/22 and produced new works reads like a ‘Who’s Who’ of the contemporary art scene: John Baldessari, Daniel Buren, Chris Burden, Joan Jonas, Richard Landry, Douglas Davis, Allan Kaprow, Jannis Kounellis, Nina Sobell, Simone Forti, Jean Otth, Terry Fox, Simone Forti, Christian Boltansky, Alighiero Boetti, Takahiko Iimura, Frank Gillette, Vito Acconci, Les Levine, Paolo Patelli, Willoughby Sharp, Marco Del Re, Charlemagne Palestine, Sandro Chia, Maurizio Nannucci, Gino de Dominicis, Guido Paolini and Lucio Pozzi.

There was also the additional problem of international TV standards, the European system being incompatible with those in use in the United States and Japan, a factor which further hampered the distribution and sales of video artworks. Gerry Schum was directly involved with the early video work of the British performance artists Gilbert Proesch (1943, Italy) and George Passmore (1942, UK). The Nature of Our Looking (1970), although originally shot on 16 mm film, was also available from the Videogalerie Schum on ½-inch video tape, and produced in an edition of four.

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A History of Video Art (2nd Edition) by Chris Meigh-Andrews

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