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

By Chris Meigh-Andrews

A heritage of Video artwork is a revised and increased variation 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 Nineties as much as the current day. moreover, the hot version expands and updates the dialogue of theoretical options and ideas which underpin modern artists’ video.

Tracking the altering different types of video artwork when it comes to 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 historic context, with specific connection with the shift from the structuralism of the past due Nineteen Sixties and early Seventies to the post-modernist issues of the Nineteen Eighties and early Nineties. the hot variation additionally explores the consequences of the internationalisation of artists’ video within the interval prime as much as the recent millennium and its matters and preoccupations together with post-colonialism, the post-medium and the influence and impact of the internet.

“Meigh-Andrews perspectives his historical past in the course of 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 experiences of important works. The vast new photo learn bargains resonant photos that evoke stories for a few and discovery for brand spanking new readers. This publication is key studying for all scholars, students, artists and curators who're drawn to the subject.” – Professor Stephen Partridge, artist and crucial Investigator for REWIND | Artists' Video within the Nineteen Seventies & 80s, Duncan of Jordanstone university of artwork and layout, collage of Dundee, UK

“No different author on video has Meigh-Andrews' snatch of the sensation of operating with digital media, in all their kinds because the Nineteen Sixties: the artist's viewpoint on making and displaying. With new fabric increasing the temporal and geographic achieve of the ebook, A heritage of Video paintings is the basic consultant to the artwork shape that greater than the other defines seeing during the last 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 types of the second one a part of the twentieth century, this publication is a good looking and special 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 collage of recent York, united states and Director, software program experiences Lab

“Meigh-Andrews’ personal major contribution to video perform and his seen familiarity with the British video artwork scene has ended in an insightful advisor to the improvement of the medium and the encompassing discourses. The publication is a perfect creation to video for the scholar or basic reader whereas offering for the historian of latest artwork an efficient key for starting up the complexities of the ancient and technological nuances of the medium.” – Samantha Lackey, “Screen Studies”, The artwork e-book, Vol. 14, factor three, August 2007, Blackwell Synergy, pp 63-64 (First version review)

“An very good and great addition to modern writing on video paintings. It has what many of the different books are lacking: it has even more aspect at the expertise at the back of the cameras, enhancing structures and installations; it situates video paintings in terms of the opposite artwork routine; and it deals an in-depth dialogue of video art's hyperlinks to experimental track. when you (or your scholars) have entry to the Video info financial institution "Surveying the 1st Decade," this e-book is a brilliant praise to a few of the video clips featured during this assortment. It presents targeted money owed of many key works and is very powerful on figures like Woody and Steina Vasulka, British video artwork and ecu video paintings which loads of books forget about totally. i'd suggest this in tandem with Illuminated Video.” – Andrew Dimirjian, NYC, US (First version assessment)

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

Sample text

The artworks broadcast on Identifications were all shot on 16 mm film, but soon afterwards Schum abandoned the medium, selling his film equipment and switching production to video, considering the potential of instant playback and review as a powerful asset for artists. The following year Schum and Wevers established Video Galerie Schum in Düsseldorf, to produce, exhibit and market video art with an inaugural exhibition of three new video works by the sculptor Ulrich Ruckriem (1938, Germany): Teilungen, Kreise and Diagonalen (Partitions, Circles and Diagonals).

From the earliest years of artists’ video, and in parallel with the European and North American context, Giaccari supported and encouraged Italian artists to experiment with a wide variety of forms and approaches, but in comparison to the developments in artists’ video in countries such as the United States and Germany, the experiments of Italian artists in the early period were tentative and sporadic. Nevertheless, these experiments took place and have been collected, archived and catalogued by Giaccari, constituting a valuable record of Italy’s contribution to the development of video art.

2 In partnership with the artist Bernhard Hoke and his first wife Hannah Weitemeier, Schum developed a collaborative approach in which the interaction between the subject of the broadcast and the filmmaking process was a crucial element in the final product. This approach was very much in line with the prevailing attitude of the most progressive contemporary artists of the period – the very work that Schum and his collaborators were presenting. New industrial processes and techniques were being adopted by contemporary artists in a desire to challenge conventional notions about art which were bound up with issues of authorship and originality.

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