By Chris Meigh-Andrews
A heritage of Video artwork is a revised and increased version of the 2006 unique, which extends the scope of the 1st variation, incorporating a much broader variety 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 variation expands and updates the dialogue of theoretical techniques and concepts which underpin modern artists’ video.
Tracking the altering types of video paintings with regards 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 paintings within the wider artwork historic context, with specific connection with the shift from the structuralism of the past due Sixties and early Seventies to the post-modernist matters of the Nineteen Eighties and early Nineties. the hot variation additionally explores the consequences of the internationalisation of artists’ video within the interval major as much as the recent millennium and its matters and preoccupations together with post-colonialism, the post-medium and the impression and impact of the internet.
“Meigh-Andrews perspectives his background during the lens of technological improvement, while by no means wasting sight of the numerous artists' inventive and subjective visions, which he covers via consultant case reviews of vital works. The large new photograph examine deals resonant pictures that evoke thoughts for a few and discovery for brand spanking new readers. This publication is vital studying for all scholars, students, artists and curators who're drawn to the subject.” – Professor Stephen Partridge, artist and important 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' clutch of the sensation of operating with digital media, in all their kinds because the Sixties: the artist's viewpoint on making and exhibiting. With new fabric increasing the temporal and geographic achieve of the ebook, A historical past of Video artwork 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 artwork many different similar media applied sciences and paintings types of the second one a part of the 20 th century, this e-book is an attractive and exact source. I hugely suggest to anyone drawn to the heritage, 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 visible familiarity with the British video artwork scene has ended in an insightful advisor to the advance of the medium and the encircling discourses. The e-book is a perfect creation to video for the scholar or normal reader whereas offering for the historian of up to date artwork a good key for commencing up the complexities of the historic 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 version review)
“An very good and welcome boost to modern writing on video paintings. 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 paintings when it comes to the opposite artwork routine; and it deals an in-depth dialogue of video art's hyperlinks to experimental song. when you (or your scholars) have entry to the Video facts financial institution "Surveying the 1st Decade," this e-book is a smart praise to a few of the movies featured during this assortment. It presents distinct bills of many key works and is especially robust on figures like Woody and Steina Vasulka, British video artwork 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 variation overview)
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Additional info for A History of Video Art (2nd Edition)
There were a number of important media activists working in Germany by the mid-1970s including Telewissen (Teleknowledge), a group based in Darmstadt and the Berlin-based Video-Audio-Medien. 9 Despite Germany’s pre-eminence in the field of electronic music (as discussed in Chapter 5) electronic manipulations of the video image did not flourish in the early period except in the areas of televised music broadcasts and brief sequences in the intervals between regular programming on the WDR in Cologne.
Arnatt and Latham had previously approached the BBC, who though interested, had declined the project. Following discussions between Arnatt and Schum at the ICA it was arranged to have the work broadcast on WDR in Cologne. m. , when normal programmes were briefly interrupted and two images from the series were flashed onto the screen without any prior warning or introduction. 5 seconds, but from 13 October they were increased to 4 seconds. indd 22 10/09/2013 09:45 Between Christmas Eve and New Year’s Eve, 1969, WDR 3 broadcast another Television Gallery Gerry Schum intervention project when TV as a Fireplace, by Jan Dibbets (1941, the Netherlands) was screened at the end of each evening’s transmission.
This approach to video was by far the most dominant in Montreal, as Videographe provided the support and technical resources for many projects both within the region and well beyond. Individuals working with video during this period include Lise Belanger, Jean-Pierre Boyer (1950, Canada), Pierre Falardeau (1946–2009, Canada) and Julien Poulin (1946, Canada), who produced Continuons le Combat (1971) and La Magra (1974). Vancouver was the epicentre of video activity on the Canadian west coast. Initially centred on Intermedia, an artists’ group formed at the end of the 1960s, activity soon splintered into a number of artists’ co-operatives and studios, the best known 2:5 Jean-Pierre Boyer, Inedit, 1975.