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 version, 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. furthermore, the recent variation expands and updates the dialogue of theoretical thoughts and concepts which underpin modern artists’ video.
Tracking the altering varieties of video paintings in terms of the revolution in digital and electronic imaging that has taken position over the last 50 years, A background of Video artwork orients video paintings within the wider paintings historic context, with specific connection with the shift from the structuralism of the past due Nineteen Sixties and early Nineteen Seventies to the post-modernist issues of the Nineteen Eighties and early Nineteen 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 issues and preoccupations together with post-colonialism, the post-medium situation and the effect and impact of the internet.
“Meigh-Andrews perspectives his historical past during the lens of technological improvement, when by no means wasting sight of the various artists' artistic and subjective visions, which he covers via consultant case stories of vital works. The broad new photo learn bargains resonant photographs that evoke stories for a few and discovery for brand spanking new readers. This ebook 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 paintings and layout, college of Dundee, UK
“No different author on video has Meigh-Andrews' take hold of of the sensation of operating with digital media, in all their kinds because the Sixties: the artist's standpoint on making and exhibiting. With new fabric increasing the temporal and geographic achieve of the ebook, A heritage of Video artwork is the fundamental advisor 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 paintings many different similar media applied sciences and paintings different types of the second one a part of the twentieth century, this booklet is a stupendous and distinct source. I hugely suggest to anyone attracted to the historical past, aesthetics, and social context of media art.” – Lev Manovich, Professor, The Graduate middle, urban college of latest York, united states and Director, software program stories Lab
“Meigh-Andrews’ personal major contribution to video perform and his seen familiarity with the British video paintings scene has ended in an insightful advisor to the improvement of the medium and the encompassing discourses. The booklet is a perfect advent to video for the coed or basic reader whereas delivering for the historian of latest paintings a good key for beginning up the complexities of the old and technological nuances of the medium.” – Samantha Lackey, “Screen Studies”, The paintings publication, Vol. 14, factor three, August 2007, Blackwell Synergy, pp 63-64 (First variation review)
“An first-class and welcome boost to modern writing on video artwork. It has what many of the different books are lacking: it has even more element at the expertise in the back of the cameras, modifying structures and installations; it situates video artwork in terms of the opposite artwork routine; and it deals an in-depth dialogue of video art's hyperlinks to experimental track. in case you (or your scholars) have entry to the Video info financial institution "Surveying the 1st Decade," this e-book is a smart praise to a number of the movies featured during this assortment. It presents distinctive bills of many key works and is very robust on figures like Woody and Steina Vasulka, British video artwork and eu video artwork which loads of books forget about fullyyt. i might suggest this in tandem with Illuminated Video.” – Andrew Dimirjian, NYC, US (First version evaluation)
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Additional resources for A History of Video Art (2nd Edition)
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.
30 American video artist Woody Vasulka identified Paik’s ambition for video art as one dedicated to elevating the genre to be of equal status to painting or sculpture, and it became a crusade that was increasingly tied in to his own ambitions as an artist. (Paik) would always take famous people if he could – the more famous, the more desirable. He was the shadow of everybody: McLuhan or Cage, or Nixon. You actually could see the effort of taking the established codes, putting them on television, destroying or altering them by the prescription of, let’s say, Fluxus.
The following year he established the ‘Videoteca Giaccari’ focusing on video documentation of artists’ performances and events as part of a major project entitled ‘Televisione come memoria’ [‘Television as Memory’]. In 1973 Giaccari wrote the ‘Classificazione dei metodi d’impiego del video in arte’ [‘Classifications of the Methods and Uses of Video in Art’] based on his broad experience of a wide range of video related activities including the production of some of the earliest video-documents of artists’ work, the establishment of ‘videosalette’ in various locations, the use of video for ‘real-time’ documentation of music, dance and theatre events, the production of video-catalogues, a video-magazine entitled Video-critica and the establishment of a video lab of the history of art.
A History of Video Art (2nd Edition) by Chris Meigh-Andrews