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Video Art Theory: A Comparative Approach demonstrates how video art functions on the basis of a comparative media approach, providing a crucial understanding of video as a medium in contemporary art and of the visual mediations we encounter in daily life. * A critical investigation of the visual media and selected video artworks which contributes to the understanding of video as a medium in contemporary art * The only study specifically devoted to theorizing the medium of video from the perspective of prominent characteristics which result from how video works deal with time, space,…mehr
Video Art Theory: A Comparative Approach demonstrates how video art functions on the basis of a comparative media approach, providing a crucial understanding of video as a medium in contemporary art and of the visual mediations we encounter in daily life. * A critical investigation of the visual media and selected video artworks which contributes to the understanding of video as a medium in contemporary art * The only study specifically devoted to theorizing the medium of video from the perspective of prominent characteristics which result from how video works deal with time, space, representation, and narrative * The text has emerged out of the author's own lectures and seminars on video art * Offers a comparative approach which students find especially useful, offering new perspectives
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Autorenporträt
Helen Westgeest is Assistant Professor of Modern and Contemporary Art History at Leiden University, the Netherlands. Her most recent publication is Photography Theory in Historical Perspective: Case Studies from Contemporary Art (co-authored with Hilde Van Gelder, Wiley-Blackwell, 2011). Westgeest is also editor and a contributor of Take Place: Photography and Place from Multiple Perspectives (2009) and joint editor of Photography between Poetry and Politics (with Hilde Van Gelder, 2008).
Inhaltsangabe
Acknowledgments vii Introduction 1 1 Immediacy versus Memory: Video Art in Relation to Television, Performance Art, and Home Video 20 Gillian Wearing's Trauma (2000) Juxtaposed to Joan Jonas's Vertical Roll (1972) 23 Video Art Dealing with the Constant Movements of Audio-Visual Electronic Media, and the Immediacy and Socio-Cultural Aspects of Television 25 The Appeal of Immediacy: Video in Performance Art and Performance in Video Art 45 The Application of the Mnemonic Ability of Video and the Relationship with Activist-Videos and Home Video 60 2 Immateriality versus Three-Dimensionality: Video Art as Sculpture, Installation Art, Projection, and Virtual Medium 79 Lynn Hershman's Tillie the Telerobotic Doll (1995) Juxtaposed to Andy Warhol's Outer and Inner Space (1965) 82 Television as an Object: Sculpture or Part of Architecture 85 Spatial Video Installations and the Relationship with the Space of the Visitor 91 Projections on Spatial Positioned Screens, the Space of Sound, and Interaction with the Visitor 96 Immaterial Projections Interfering in Darkened Sites and Immersing the Viewer 104 Interacting in the Merged Physical and Digital Space 109 3 Moving Images Mediating as Contemplative Images: Video's Challenge of Photography, Drawing, and Painting 121 Kudzanai Chiurai's Iyeza (2012) Juxtaposed to Thierry Kuntzel's Été - double vue (1988) 125 Video Art and Photography 130 Video Art and Drawing 140 Video Art and Painting 147 4 Repetition and Fragmentation in Narrative: Video's Appropriation and Subversion of Classical Cinema 164 Candice Breitz's Mother + Father (2005) Juxtaposed to Rodney Graham's Vexation Island (1997) and Keren Cytter's Corrections (2013) 166 Aspects of Narrative in Video Art Reacting to Hollywood Films, and Views on Compulsive Repetition 169 The Tension between Images and Verbal Language as Dialog, Voice-over, Voice-off, or Text 180 In Lieu of a Conclusion 193 Index 199
Acknowledgments vii Introduction 1 1 Immediacy versus Memory: Video Art in Relation to Television, Performance Art, and Home Video 20 Gillian Wearing's Trauma (2000) Juxtaposed to Joan Jonas's Vertical Roll (1972) 23 Video Art Dealing with the Constant Movements of Audio-Visual Electronic Media, and the Immediacy and Socio-Cultural Aspects of Television 25 The Appeal of Immediacy: Video in Performance Art and Performance in Video Art 45 The Application of the Mnemonic Ability of Video and the Relationship with Activist-Videos and Home Video 60 2 Immateriality versus Three-Dimensionality: Video Art as Sculpture, Installation Art, Projection, and Virtual Medium 79 Lynn Hershman's Tillie the Telerobotic Doll (1995) Juxtaposed to Andy Warhol's Outer and Inner Space (1965) 82 Television as an Object: Sculpture or Part of Architecture 85 Spatial Video Installations and the Relationship with the Space of the Visitor 91 Projections on Spatial Positioned Screens, the Space of Sound, and Interaction with the Visitor 96 Immaterial Projections Interfering in Darkened Sites and Immersing the Viewer 104 Interacting in the Merged Physical and Digital Space 109 3 Moving Images Mediating as Contemplative Images: Video's Challenge of Photography, Drawing, and Painting 121 Kudzanai Chiurai's Iyeza (2012) Juxtaposed to Thierry Kuntzel's E´te´ - double vue (1988) 125 Video Art and Photography 130 Video Art and Drawing 140 Video Art and Painting 147 4 Repetition and Fragmentation in Narrative: Video's Appropriation and Subversion of Classical Cinema 164 Candice Breitz's Mother + Father (2005) Juxtaposed to Rodney Graham's Vexation Island (1997) and Keren Cytter's Corrections (2013) 166 Aspects of Narrative in Video Art Reacting to Hollywood Films, and Views on Compulsive Repetition 169 The Tension between Images and Verbal Language as Dialog, Voice-over, Voice-off, or Text 180 In Lieu of a Conclusion 193 Index 199
Acknowledgments vii Introduction 1 1 Immediacy versus Memory: Video Art in Relation to Television, Performance Art, and Home Video 20 Gillian Wearing's Trauma (2000) Juxtaposed to Joan Jonas's Vertical Roll (1972) 23 Video Art Dealing with the Constant Movements of Audio-Visual Electronic Media, and the Immediacy and Socio-Cultural Aspects of Television 25 The Appeal of Immediacy: Video in Performance Art and Performance in Video Art 45 The Application of the Mnemonic Ability of Video and the Relationship with Activist-Videos and Home Video 60 2 Immateriality versus Three-Dimensionality: Video Art as Sculpture, Installation Art, Projection, and Virtual Medium 79 Lynn Hershman's Tillie the Telerobotic Doll (1995) Juxtaposed to Andy Warhol's Outer and Inner Space (1965) 82 Television as an Object: Sculpture or Part of Architecture 85 Spatial Video Installations and the Relationship with the Space of the Visitor 91 Projections on Spatial Positioned Screens, the Space of Sound, and Interaction with the Visitor 96 Immaterial Projections Interfering in Darkened Sites and Immersing the Viewer 104 Interacting in the Merged Physical and Digital Space 109 3 Moving Images Mediating as Contemplative Images: Video's Challenge of Photography, Drawing, and Painting 121 Kudzanai Chiurai's Iyeza (2012) Juxtaposed to Thierry Kuntzel's Été - double vue (1988) 125 Video Art and Photography 130 Video Art and Drawing 140 Video Art and Painting 147 4 Repetition and Fragmentation in Narrative: Video's Appropriation and Subversion of Classical Cinema 164 Candice Breitz's Mother + Father (2005) Juxtaposed to Rodney Graham's Vexation Island (1997) and Keren Cytter's Corrections (2013) 166 Aspects of Narrative in Video Art Reacting to Hollywood Films, and Views on Compulsive Repetition 169 The Tension between Images and Verbal Language as Dialog, Voice-over, Voice-off, or Text 180 In Lieu of a Conclusion 193 Index 199
Acknowledgments vii Introduction 1 1 Immediacy versus Memory: Video Art in Relation to Television, Performance Art, and Home Video 20 Gillian Wearing's Trauma (2000) Juxtaposed to Joan Jonas's Vertical Roll (1972) 23 Video Art Dealing with the Constant Movements of Audio-Visual Electronic Media, and the Immediacy and Socio-Cultural Aspects of Television 25 The Appeal of Immediacy: Video in Performance Art and Performance in Video Art 45 The Application of the Mnemonic Ability of Video and the Relationship with Activist-Videos and Home Video 60 2 Immateriality versus Three-Dimensionality: Video Art as Sculpture, Installation Art, Projection, and Virtual Medium 79 Lynn Hershman's Tillie the Telerobotic Doll (1995) Juxtaposed to Andy Warhol's Outer and Inner Space (1965) 82 Television as an Object: Sculpture or Part of Architecture 85 Spatial Video Installations and the Relationship with the Space of the Visitor 91 Projections on Spatial Positioned Screens, the Space of Sound, and Interaction with the Visitor 96 Immaterial Projections Interfering in Darkened Sites and Immersing the Viewer 104 Interacting in the Merged Physical and Digital Space 109 3 Moving Images Mediating as Contemplative Images: Video's Challenge of Photography, Drawing, and Painting 121 Kudzanai Chiurai's Iyeza (2012) Juxtaposed to Thierry Kuntzel's E´te´ - double vue (1988) 125 Video Art and Photography 130 Video Art and Drawing 140 Video Art and Painting 147 4 Repetition and Fragmentation in Narrative: Video's Appropriation and Subversion of Classical Cinema 164 Candice Breitz's Mother + Father (2005) Juxtaposed to Rodney Graham's Vexation Island (1997) and Keren Cytter's Corrections (2013) 166 Aspects of Narrative in Video Art Reacting to Hollywood Films, and Views on Compulsive Repetition 169 The Tension between Images and Verbal Language as Dialog, Voice-over, Voice-off, or Text 180 In Lieu of a Conclusion 193 Index 199
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