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 variation, 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. additionally, the recent variation expands and updates the dialogue of theoretical techniques and ideas which underpin modern artists’ video.
Tracking the altering sorts of video artwork on the subject of the revolution in digital and electronic imaging that has taken position over the last 50 years, A heritage of Video paintings orients video artwork within the wider artwork old 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 Nineteen Eighties and early Nineteen Nineties. the hot variation additionally explores the results of the internationalisation of artists’ video within the interval top as much as the recent millennium and its issues and preoccupations together with post-colonialism, the post-medium and the influence and impression of the internet.
“Meigh-Andrews perspectives his background during 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 reviews of important works. The huge new photo learn deals resonant photos that evoke thoughts for a few and discovery for brand new readers. This publication is key interpreting for all scholars, students, artists and curators who're attracted to the subject.” – Professor Stephen Partridge, artist and crucial Investigator for REWIND | Artists' Video within the Seventies & 80s, Duncan of Jordanstone university of artwork and layout, collage of Dundee, UK
“No different author on video has Meigh-Andrews' seize of the sensation of operating with digital media, in all their kinds because the Nineteen Sixties: the artist's standpoint on making and exhibiting. With new fabric increasing the temporal and geographic succeed in of the publication, A heritage of Video artwork is the basic consultant to the paintings 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 artwork types of the second one a part of the 20 th century, this publication is a wonderful and particular source. I hugely suggest to anyone drawn to the heritage, aesthetics, and social context of media art.” – Lev Manovich, Professor, The Graduate heart, urban college of latest York, united states and Director, software program reports Lab
“Meigh-Andrews’ personal major contribution to video perform and his seen familiarity with the British video artwork scene has led to an insightful advisor to the improvement of the medium and the encircling discourses. The ebook is a perfect creation to video for the scholar or basic reader whereas offering for the historian of latest artwork a good key for beginning 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 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, modifying structures and installations; it situates video artwork in terms of the opposite artwork routine; and it bargains an in-depth dialogue of video art's hyperlinks to experimental track. should you (or your scholars) have entry to the Video facts financial institution "Surveying the 1st Decade," this ebook is a brilliant praise to a number of the movies featured during this assortment. It offers exact debts of many key works and is very powerful on figures like Woody and Steina Vasulka, British video paintings and eu video paintings which loads of books forget about solely. i'd suggest this in tandem with Illuminated Video.” – Andrew Dimirjian, NYC, US (First version evaluation)
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Extra info for A History of Video Art (2nd Edition)
Brezhnev (1982), and Art is Power (1985) (discussed in more detail in Chapter 9), can be seen as examples of his ideas about the complex relationship between artists’ video and broadcast television. By the mid-1970s a new generation of artists, many of whom had previously worked with film, had begun to explore the potential of video, including Jolanta Marcolla, Zbigniew Rybczynski, Janusz Kolodrubiec and Anna Kutera. indd 31 31 10/09/2013 09:45 32 the origins of video art ‘Konstrukcja w procesie’ (the Construction in Process) in Lodz and ‘Nowe zjawiska w sztuce lat siedemdziesiatych’ (New Phenomena in the Polish Art of the Seventies) in Sopot, both of which featured work by artists exploring the potential of the video medium.
8 Gerry Schum made a major contribution to the foundation of video as a medium for art through his visionary ideas about the potential of televisual space for the exhibition of time-based art and via his commitment to video as a production and distribution medium. The establishment of Videogalerie Schum anticipated the emergence of video as a significant art form and paved the way for the wider acceptance of artists’ video alongside other more established art media. EARLY VIDEO ART IN GERMANY Video art in Germany was comparatively slow to develop in the early years, given the significance of the early contributions of Wolf Vostell, Nam June Paik’s pioneering experiments with manipulations of the television display and the pioneering work of Gerry Schum.
EARLY VIDEO ART IN GERMANY Video art in Germany was comparatively slow to develop in the early years, given the significance of the early contributions of Wolf Vostell, Nam June Paik’s pioneering experiments with manipulations of the television display and the pioneering work of Gerry Schum. indd 24 10/09/2013 09:45 Tape II (1972) and Harald Ortlieb’s Television 1 (1973) echoed Vostell’s notion of the television set as a physical object and an integral part of the domestic setting in which the viewing habits and rituals associated with TV viewing were referenced.