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Video Art

Video Art. Video Art.

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Video Art

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  1. Video Art

  2. Video Art

  3. This is the First Television Set in the World: The “Baird Televisor”, 1928 . An early experimental and demonstration “Baird-type” television receiver with 30 lines, and Nipkow disc which turned with a speed of 750 rpm producing 12 1/2 pictures per second. The motor still runs on a standard 18-volt battery. A spectacular demonstration model of the birth of television!.

  4. Wolf Vostell was the first artist in art history to integrate a television set into a work of art. This installation was created in 1958 under the title Cycle Black Room/Deutscher Ausblick ("German view") is now part of the collection of the art museum Berlinische Galerie in Berlin. Early works with television sets are Transmigracion I-III from 1958 and Elektronischer De-coll/age Happening Raum[3], (E.D.H.R), ("Electronic De-coll/age Happening Room"), an Installation, from 1968. Wolf Vostell Dé-coll/ages From 1958 on… Sculpture with TV

  5. Vostell's large-scale happening 9 Nein Décollagen (9 No – Dé-coll/ages) took place on 14 September 1963 in nine different locations in Wuppertal, and was organized by the Galerie Parnass. The audience was ferried by bus from location to location, including a cinema that screened Sun in Your Head while people lay on the floor. The film transfers to the moving image Vostell’s principle of ‘Décollage’. While up to then Vostell had altered TV pictures as they were being broadcast, he was now able to compose the temporal sequence. Since no video equipment was available in 1963, Vostell instructed camera-man Edo Jansen to film distorted TV images off the TV screen. The film was re-edited and copied to video in 1967. Wolf Vostell 9 No – Dé-coll/ages 1963 - 67 Film/video performance

  6. Nam June Paik Magnet TV 1965 Magnet with TV and broadcast program

  7. Nam June Paik TV Buddha 1974 closed circuit video installation with bronze sculpture

  8. Nam June Paik Video Flag 1984-96 video installation

  9. Nam June Paik Electronic Superhighway 1995 video installation

  10. Nam June Paik video still from Global Groove 1973 color videotape, sound30 minutes

  11. EVL http://www.youtube.com/watch?v=8qh6jRzjmcY&feature=related (1973) http://www.youtube.com/evltube (2011) Moog Synthesizer (Demo): http://www.youtube.com/watch?v=pLQy4jQmrek&feature=topics Moog History http://www.youtube.com/watch?v=usl_TvIFtG0 Dan Sandin Sandin Analogue Image Processor 1971-1973 Analog computer video synthesizer

  12. "In a startling collusion of form and content, Jonas constructs a theater of female identity by deconstructing representations of the female body and the technology of video. Using an interrupted electronic signal -- or "vertical roll" -- as a dynamic formal device, she dislocates space, re-framing and fracturing the image." Joan Jonas Vertical Roll 1972 video

  13. Chris Burden Late Night Advertisements (Through the Night Softly) Early 70s Video on Broadcast Television

  14. Bruce Nauman Live-Taped Video Corridor 1970 video installation

  15. The time-lag of eight seconds is the outer limit of the neurophysiological short-term memory that forms an immediate part of our present perception and affects this «from within». If you see your behavior eight seconds ago presented on a video monitor «from outside» you will probably therefore not recognize the distance in time but tend to identify your current perception and current behavior with the state eight seconds earlier. Since this leads to inconsistent impressions which you then respond to, you get caught up in a feedback loop. You feel trapped in a state of observation, in which your self-observation is subject to some outside visible control. In this manner, you as the viewer experience yourself as part of a social group of observed observers [instead of, as in the traditional view of art, standing arrested in individual contemplation before an auratic object]. Dan Graham Time Delay Room 1974video camera, video taper, video monitors, mirror

  16. Dan Graham«Body Press» Film installation of two synchronized silent 16mm-film projections, color, 8'.Two filmmakers stand within a surrounding and completely mirrorized cylinder, body trunk stationary, hands holding and pressing a camera's back-end flush to, while slowly rotating it about, the surface cylin-der of their individual bodies. One rotation circumscribes the body's contour, spiralling slightly upward with the next turn. With successive rotations, the body surface areas are completely covered as a template by the back of the camera(s) until eye-level (view through camera's eyes) is reached; then a reverse mapping downward begins until the original starting point is reached. The rotations are at a correlated speed; when each camera is rotated to each body's rear it is then facing and film-ing the other where they are exchanged so the camera's ‹identity› ‹changes hands› and each performer is handling a new camera. The cameras are of different size and mass. In the process, the performers are to concentrate on the coexistent, simultaneous identity of both camera's describing them and their body. (The camera may/or may not be read as an extension of the body's identity.) Optically, the two cameras film the Image reflected on the mirror which is the same surface as the box (and lens) of the cam-era's five visible sides, the body of the performer, and (possibly) his eyes on the mirror (In projection what is seen by the spectator).The camera's angle of orientation/view of the area of the mirror's reflective image is determined by the placement of the cam-era on the body contour at a given moment. (The camera might be pressed against the ehest but such an upward angle shows head and eyes). To the spectator the camera's optical vantage is the skin. (An exception is when the performer's eyes are also seen reflected or the cameras are seen filming the other). The performer's musculature is 'seen' pressing into the surface of the body (pulling inside out). At the same time, kinesthetically, the handling of the camera can be 'felt', by the spectator, as surfacetension, as the hidden side of the camera presses and slides against the skin it cov-ers at a particular moment. The films are projected at the same time on two loop projectors, very large size on two opposite, but very close, room walls. A member of the audience (man or woman) might identify with one image or the other from the same camera or can identify with one body or the other, shifting their view each time to face the other screen when the cameras are exchanged. Dan Graham Body Press 1972 film

  17. William Wegman Early Work (excerpts): http://www.dailymotion.com/video/xaeydy_william-wegman-early-videos2_creation# 1970 video recorded on Sony CV 1/2” open reel to reel

  18. Peter Campus Three Transitions 1973 video

  19. Dara Birnbaum Technology/Transformation: Wonder Woman 1978 video

  20. Gary Hill Wall Piece (2000) http://www.sfmoma.org/explore/multimedia/videos/223 Crux (1983 – 87) http://www.mediaartnet.org/works/crux/ Postings on Crux: http://nonsenselab.tumblr.com/post/9960254331/gary-hill-crux-1983-1987-video-installation Clip with artist voice over on “Crux” like piece: http://www.madisonartshop.com/lib/madisonartshop/33230.wmv SFMOMA compilation: http://www.sfmoma.org/explore/multimedia/interactive_features/11#

  21. Adrian Piper Cornered 1988 video monitor, table, birth certificates

  22. Peter Fischli + David Weiss The Way Things Go (Der Lauf Der Dinge) 1987 video29 minutes, 40 seconds

  23. The boundary between life and death is a strong theme that runs through some of his work, notably Heaven and Earth (1992). A white column rises from the floor to the ceiling, divided in the middle by two television screens that face each other. The lower screen shows a close-up image of a new-born baby, only days old while the upper screen shows a close-up image of an old woman, hospitalized and in the last week of her life. The glass screens of the television monitors allow both of the images to be reflected in the other: birth and death infuse each other. The monitors are exposed cathode ray tubes, attached to the columns only by four thin metal bars. This exposure of the fragile technology comes across as a strong metaphor for the fragility of human body and was a deliberate conceptual link that Viola aimed to present. --Ashley Rawlings (2006) Bill Viola Heaven and Earth 1992 Video and two facing cathode ray tubes

  24. Bill Viola Nantes Triptych 1992video installation

  25. Bill Viola Ocean without a Shore 2007 Church of San Gallo, Venicecolor high-definition video triptych, two 65 in. plasma screens, one 103 in. screen mounted vertically, six loudspeakers (three pairs stereo sound)

  26. Bill Viola Ocean without a Shore 2007 Church of San Gallo, Venicecolor high-definition video triptych, two 65 in. plasma screens, one 103 in. screen mounted vertically, six loudspeakers (three pairs stereo sound)

  27. Tony Oursler Projected Video Projects http://www.youtube.com/watch?v=BMZHMVRXsbE&feature=related http://www.youtube.com/watch?v=BMZHMVRXsbE&feature=related

  28. Sadie Benning http://www.tumblr.com/tagged/sadie-benning?before=1318122200 http://www.haussite.net/haus.0/SCRIPT/txt2001/01/russel.HTML

  29. ShirinNeshat Still Photos, Video, and Interview http://heyokamagazine.com/HEYOKA.4.FOTOS.ShirinNeshat.htm Video excerpt from Zarim:http://www.youtube.com/watch?v=1wNz9jK82U0 Interview on Charlie Rose (fast forward to 2nd interview)http://www.youtube.com/watch?v=Em1pwqlvMCs (August 25, 2007)

  30. Christian Marclay Video Quartet 2002 Video installation

  31. Xavier Cha Video installation from Body mounted cameras (2011) http://whitney.org/Exhibitions/XavierCha http://www.youtube.com/watch?v=x1T05S9dKVw

  32. Kade Twist For You Shall Pass Through the Water of Another 2010 3 Channel Video installation

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