By Chris Meigh-Andrews
A heritage of Video artwork is a revised and extended version of the 2006 unique, which extends the scope of the 1st variation, incorporating a much wider 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. moreover, the hot version expands and updates the dialogue of theoretical thoughts and concepts which underpin modern artists’ video.
Tracking the altering varieties of video paintings on the subject of the revolution in digital and electronic imaging that has taken position over the past 50 years, A heritage of Video artwork orients video paintings within the wider paintings historic context, with specific connection with the shift from the structuralism of the overdue Nineteen Sixties and early Nineteen Seventies to the post-modernist matters of the Eighties and early Nineteen 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 issues and preoccupations together with post-colonialism, the post-medium situation and the impression and impression of the internet.
“Meigh-Andrews perspectives his background 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 reviews of important works. The vast new photograph examine deals resonant pictures that evoke thoughts for a few and discovery for brand spanking 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 crucial Investigator for REWIND | Artists' Video within the Nineteen Seventies & 80s, Duncan of Jordanstone collage of artwork and layout, college 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 Sixties: the artist's standpoint on making and displaying. With new fabric increasing the temporal and geographic achieve of the e-book, A background of Video paintings is the fundamental consultant to the paintings shape that greater than the other defines seeing during the last part century.” – Sean Cubitt, Professor of movie and tv, Goldsmiths, collage of London, UK
“Covering either video artwork many different comparable media applied sciences and artwork kinds of the second one a part of the twentieth century, this ebook is an exquisite and specified 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 latest York, united states and Director, software program reports Lab
“Meigh-Andrews’ personal major contribution to video perform and his visible familiarity with the British video paintings scene has led to an insightful consultant to the improvement of the medium and the encircling discourses. The publication is a perfect creation to video for the coed or normal reader whereas supplying for the historian of up to date paintings an efficient key for starting up the complexities of the ancient 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 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 paintings with regards to the opposite artwork events; and it bargains an in-depth dialogue of video art's hyperlinks to experimental song. when you (or your scholars) have entry to the Video info financial institution "Surveying the 1st Decade," this booklet is a smart praise to the various movies featured during this assortment. It offers specified debts of many key works and is especially powerful on figures like Woody and Steina Vasulka, British video artwork and ecu video artwork which loads of books forget about totally. i might suggest this in tandem with Illuminated Video.” – Andrew Dimirjian, NYC, US (First version overview)
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Additional resources for A History of Video Art (2nd Edition)
For example it was here that Fabrizio Plessi (1940, Italy) produced his first videotapes Acquabiografico (1973) and Travel (1974), and in the following year he collaborated with the German artist Christina Kubisch (1948, Germany) to produce Liquid Piece. Other artists active at the Centro Video Arte include Maurizio Bonora (1940, Italy), Maurizio Camerani (1951, Italy) and Giorgio Cattani (1949, Italy). As the 1970s progressed other institutions and galleries such as Galleria Civica in Turin and Centro Internazionale di Brera in Milan began to exhibit and feature video work by artists such as Piero Gilardi (1942, Italy), Mario Sasso (1934, Italy), Gianni Toti (1924–2007, Italy), Claudio Ambrosini (1948, Italy), Luigi Viola (1949, Italy), Michele Sambin (1951, Italy).
1963–89, which toured Europe in 1989. In addition to these important showcase exhibitions, a number of important international video festivals such as the Videonale Bonn, the European Media Art Festival Osnabrück, and the International Media Art Festival transmediale in Berlin were set up in the 1980s. Many of the most significant video artists in Germany have taught at art academies influencing the ideas and output of new generations. These include Marcel Odenbach (1953, Germany) and Klaus von Bruch (1952, Germany) at the College of Art and Design in Karlsruhe, Birgit Hein at the Brunswick College of Fine Arts, Maria Vedder and Heinz Emigholz (1948, Germany) at the Institute for Time-Based Media at the Berlin University of the Arts, and Peter Weibel (1944, USSR) who taught at the Institute for New Media in Frankfurt am Main before becoming director of the ZKM (Zentrum fur Kunst und Medientechnologie) in Karlsruhe.
4 One of the most innovative artworks in Land Art was Richard Long’s (1945, UK) Walking a Straight Ten Mile Line. indd 21 21 10/09/2013 09:45 22 the origins of video art … created the most consequent object in the Land Art show. To mark his ten mile line he used neither chalk nor digged [sic] a trench. Only the camera filmed every half mile six seconds of landscape shooting in the direction he walked. 5 Long’s work is portrayed in a six-minute film in which the spectator is presented with a direct experience of the making of the work within the landscape, via series of discontinuous zooming sequences each lasting 6 seconds, filmed at half-mile intervals.