Video art is an art form that relies on the use of video technology as a visual and audio medium. Video art emerged in the late 1960s as new consumer video technologies such as video cassette recorders became available beyond broadcasting companies. Video art can take many forms: broadcast tapes; installation seen in a gallery or museum; work online streaming, distributed as a videocassette, or DVD; and performances that can combine one or more television sets, video monitors, and projections, displaying live and recorded images and sounds.
Video art is named for the original analog video band, which is the most used recording technology in many historical forms until the 1990s. With the advent of digital recorder equipment, many artists began to explore digital technology as a way of new expression.
One of the main differences between video art and theater cinema is that video art does not always depend on many conventions that define theatrical cinema. Video art may not use actors, may not contain dialogue, may have no visible narratives or plots, or adhere to other conventions that generally define movies as entertainment. This distinction also distinguishes video art from subcategories of cinema such as avant garde cinema, short film, or experimental film.
Video Video art
Sejarah awal
Nam June Paik, a Korean-American artist studying in Germany, is widely regarded as a pioneer in video art. In March 1963, Nam June Paik performed at Galerie Parnass in Wuppertal, Music Exhibition - Electronic Television. In May 1963 Wolf Vostell showed the installation of 6 TV DÃÆ' Â © -coll/age at the Smolin Gallery in New York and made a video The sun on your head in Cologne. Originally Sun in your head was made on 16mm film and transferred 1967 to videocassette.
Video art is often said to begin when Paik uses his new Sony Portapak to record a snapshot of Paul VI's procession through New York City in the fall of 1965. Later that same day, across town at the Greenwich Village café, Paik turned the video cassette and art born.
Prior to the introduction of consumer video equipment, the production of moving images was only available on a non-commercial basis through 8mm film and 16mm film. After the introduction of Portapak and subsequent updates every few years, many artists began exploring new technologies.
Many of the earliest leading video artists are those who are involved with concurrent movements in conceptual art, performances, and experimental films. These include American Vito Acconci, Valie Exports, John Baldessari, Peter's Campus, Doris Totten Chase, Maureen Connor, Norman Cowie, Dimitri Devyatkin, Frank Gillette, Dan Graham, Joan Jonas, Bruce Nauman, Nam June Paik, Bill Viola, Shigeko Kubota, Martha Rosler, William Wegman, Gary Hill, and many others. There are also such as Steina and Woody Vasulka who are interested in the formal quality of video and using video synthesizers to create abstract works. Kate Craig, Vera Frenkel and Michael Snow are important for the development of video art in Canada.
Maps Video art
In the 1970s
Many video art in the heyday of the media experimented formally with video format limitations. For example, American artist Peter Campus' Double Vision combines video signals from two Sony Portapaks through an electronic mixer, producing distorted images and radical dissonance. Another representative section, Joan Jonas' Vertical Roll, involved recording previously recorded material from Jonas dancing while turning the video back on television, resulting in a layered and complex mediation representation.
Many video art in America was produced from New York City, with The Kitchen, founded in 1972 by Steina and Woody Vasulka (and assisted by video directors Dimitri Devyatkin and Shridhar Bapat), serving as a link for many young artists. Early multi-channel video artwork (using multiple monitors or screens) is
On the West Coast, San Jose State television studio in 1970, Willoughby Sharp started the "Videoviews" series of video dialogs with artists. The series "Videoviews" consists of the Sharps dialogue with Bruce Nauman (1970), Joseph Beuys (1972), Vito Acconci (1973), Chris Burden (1973), Lowell Darling (1974), and Dennis Oppenheim (1974). Also in 1970, Sharp curated "Body Works", a video exhibition by Vito Acconci, Terry Fox, Richard Serra, Keith Sonnier, Dennis Oppenheim and William Wegman presented at Tom Marioni Concept Museum of Art, San Francisco, California.
In Europe, Valie Export's groundbreaking video, "Facing a Family" (1971) is one of the first examples of television intervention and video art broadcasting. The video, originally broadcast on the Austrian television program "Kontakte" February 2, 1971, [11] shows Austrian bourgeois families watching TV while having dinner, creating a mirror effect for many members of the audience doing the same. Exports believe television can complicate relationships between subject, audience, and television. In the English "TV Interruptions" (1971) that David aired was deliberately unreleased and not accredited on Scottish TV, the first artist intervention on British television.
1980s-1990s
As the price of editing software decreases, the general public's access to use of this technology increases. Video editing software becomes so available that it changes the way digital media artists and video artists interact with the media. Different themes emerge and are explored in the work of artists, such as interactivity and nonlinearity. Critics of editing software focus on the freedoms created for artists through technology, but not for the audience. Some artists combine physical and digital techniques to allow their audience to physically explore digital jobs. An example of this is "Jeffrey Shaw" (1988-91). In this section "spectators" are riding stationary bikes through virtual images of Manhattan, Amsterdam, and Karlsrule. The image changes depending on the direction of the bike handle, and the pedicor speed. This creates a unique virtual experience for each participant.
2000s-Today
Because technology and editing techniques have evolved since the advent of video as an art form, artists can experiment more with video art without using their own content. "Civilization" Marco Brambilla (2008) demonstrates this technique. Brambilla tries to create a collage video version, or "video mural" by combining various clips from the movie, and editing them to portray heaven and hell.
There are artists today that have changed the way video art is seen and viewed. Ryan Trecartin, and young experimental video artist, use strange colors, editing and acting techniques to describe what the New Yorker calls "cultural districts." Trecartin plays with portrayal of identity and ultimately produces characters that "can be many people at the same time". When asked about his character, Trecartin explains that he visualizes that everyone's identity is made up of "areas" and that they can all be very different from each other and expressed at different times. Ryan Trecartin is an innovative artist who has been said to have "changed the way we engage with the world and with each other" through video art. A series of videos made by Trecartin titled I-BE-AREA are featured, one example is the I-BE-AREA (Pasta and Wendy M-PEGgy), published in 2008, depicting a character named Wendy who behaves erratically. When asked about his character, Trecartin explains that he visualizes that everyone's identity is made up of "areas" and that they can all be very different from each other and expressed at different times. Ryan Trecartin is an innovative artist who has been said to have "changed the way we engage with the world and with each other" through video art.
Art performance and video art
Video art as a medium can also be combined with other forms of artistic expression such as Performing Arts. This combination can also be considered as "media and performing arts" when artists "break video and film prints and expand the boundaries of art". With the improvement of the ability for artists to get video cameras, the performing arts begin to be documented and shared across a large number of audiences. Artists like Marina Abramovic and Ulay experimented with video recording of their appearances in the 1970s and 1980s. In a work entitled "Rest Energy" (1980) both Ulay and Marina suspended their weight so they pulled back the bow and arrow aimed at his heart, Ulay holding the arrow, and Marina bow. That part is 4:10 that Marina describes as "a show of complete and total trust".
Another artist who combines the Art of Video with the performing Arts uses the camera as a spectator. Kate Gilmore experimented with the camera position. In his video "Anything" (2006) he filmed his performance section as he continued trying to reach the camera staring at him. When the video lasted 13 minutes, he continued to unite pieces of furniture while continuing to reach the camera. Gilmore added an element of struggle for his sometimes self-imposed art, in his video "My love is an anchor" (2004) he left his legs dry in cement before attempting to escape from the camera. Gilmore is said to have mimicked the style of expression from the 1960s and 1970s with inspiration like Marina Abramovic as he added extremism and a struggle for his work.
Source of the article : Wikipedia
0 Comments