By Chris Meigh-Andrews

A heritage of Video paintings is a revised and extended version of the 2006 unique, which extends the scope of the 1st variation, 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 Nineteen Nineties as much as the current day. additionally, the recent version expands and updates the dialogue of theoretical options and ideas which underpin modern artists’ video.

Tracking the altering types of video paintings on the subject of the revolution in digital and electronic imaging that has taken position over the last 50 years, A background of Video artwork orients video paintings within the wider artwork ancient context, with specific connection with the shift from the structuralism of the past due Sixties and early Nineteen Seventies to the post-modernist issues of the Eighties and early Nineteen Nineties. the recent version additionally explores the consequences of the internationalisation of artists’ video within the interval prime as much as the hot millennium and its issues and preoccupations together with post-colonialism, the post-medium situation and the influence and effect of the internet.

“Meigh-Andrews perspectives his historical past throughout the lens of technological improvement, while by no means wasting sight of the numerous artists' artistic and subjective visions, which he covers via consultant case stories of important works. The broad new photo learn deals resonant photos that evoke thoughts for a few and discovery for brand new readers. This ebook is key interpreting for all scholars, students, artists and curators who're attracted to the subject.” – Professor Stephen Partridge, artist and central Investigator for REWIND | Artists' Video within the Nineteen Seventies & 80s, Duncan of Jordanstone university of paintings and layout, college of Dundee, UK

“No different author on video has Meigh-Andrews' take hold of of the sensation of operating with digital media, in all their kinds because the Nineteen Sixties: the artist's standpoint on making and displaying. With new fabric increasing the temporal and geographic succeed in of the publication, A heritage 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, collage of London, UK

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

“Meigh-Andrews’ personal major contribution to video perform and his visible 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 advent to video for the scholar or basic reader whereas offering for the historian of latest artwork an efficient key for establishing up the complexities of the historic and technological nuances of the medium.” – Samantha Lackey, “Screen Studies”, The paintings booklet, Vol. 14, factor three, August 2007, Blackwell Synergy, pp 63-64 (First version review)

“An first-class and welcome boost to modern writing on video artwork. It has what most of the different books are lacking: it has even more element at the expertise in the back of the cameras, enhancing platforms and installations; it situates video artwork with regards to the opposite paintings events; and it deals an in-depth dialogue of video art's hyperlinks to experimental tune. in the event you (or your scholars) have entry to the Video facts financial institution "Surveying the 1st Decade," this ebook is a smart praise to a number of the video clips featured during this assortment. It presents special bills of many key works and is very powerful on figures like Woody and Steina Vasulka, British video paintings and ecu video paintings which loads of books forget about fullyyt. i might suggest this in tandem with Illuminated Video.” – Andrew Dimirjian, NYC, US (First version evaluate)

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

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A number of major exhibitions in Paris in the early 1980s featured video installation work. French artists, including Catherine Ikam (1945, France) (Fragments of an Archetype, 1980); Thierry Kuntzel (1948–2007, France); Michel Jaffrennou (1944, France) (Videoflashes, Totalogiques, 1982 and The Sweet Babble of Electrons in the Video Wall, 1983); and Nil Yalter (1938, Turkey) (The Rituals, 1980); were featured at the Centre Pompidou, the Biennales de Paris (1980) and the ARC (1981–3). In 1981, the American artist, curator and writer Don Foresta (1939, USA) organized the earliest exhibition of video work by French artists to tour in the USA.

Despite his commitment and enthusiasm for video, Schum was plagued by difficulties with the medium in the early days, as it was expensive and bulky and required a considerable level of technical knowledge. indd 23 23 10/09/2013 09:45 24 the origins of video art for production the TV gallery he used the industry standard 1-inch video format. Schum actively promoted the Phillips video cassette format when it was introduced in 1972, because he felt it would ease the logistical problems associated with the of distribution of artists’ video work, but for some time the cassette tape stock was in very short supply.

He provoked the creation of a new aesthetic of the distorted picture by transforming the normal process of recorded images, the aim of which was to be distortion free. indd 14 10/09/2013 09:45 Paik’s prepared televisions had clearly drawn inspiration from Cage’s prepared pianos, but Cage’s 1951 composition Imaginary Landscape No. 4 (which co-incidentally used twelve ‘live’ radios), was also a direct and significant influence. Imaginary Landscape No. 4, a four-minute piece for twelve radios, featured two ‘players’ at each – one to control the tuning, the other to adjust the tone and volume.

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