A history of video art: the development of form and function
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Oxford [u.a.]
Berg
2006
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | 318 S. zahlr. Ill. |
| ISBN: | 9781845202194 9781845202187 1845202198 |
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| adam_text | Titel: A history of video art
Autor: Meigh-Andrews, Chris
Jahr: 2006
CONTENTS
List of Black and White Illustrations vii
List of Colour Plates xi
Acknowledgements xiii
PART I: THE ORIGINS OF VIDEO ART:
THE HISTORICAL AND CULTURAL CONTEXT
1. In the Beginning: The Origins of Video Art 5
2. Crossing Boundaries: International
Tendencies and Influences in Early Artists Video 19
3. Technology, Access and Context: Social and Political
Activists and Their Role in the Development of Video Art 59
4. Expanded Cinema: The Influence and Relationship of
Experimental, Avant-Garde and Underground Film 71
5. Musique Concrete, Fluxus and Tape Loops: The Influence and Impact
of Sound Recording and Experimental Music on Video Art 89
6. Theory and Practice: The Influence and Impact of Theoretical
Ideas on Technology-Based Practice in the 1970s 101
7. Beyond the Lens: Abstract Video Imagery
and Image Processing 111
PART II: A DISCUSSION OF SOME REPRESENTATIVE AND INFLUENTIAL
VIDEO ART WORKS SET IN RELATION TO THEIR TECHNICAL
AND CRITICAL CONTEXT
8. In and Out of the Studio:
The Advent of Inexpensive Non-Broadcast Video 149
Vertical Roll, Joan Jonas, USA, 1972; Television Delivers People, Richard Serra and Carlotta
Fay Schoolman, USA, 1973; This is a Television Monitor, David Hall, UK, 1973; Monitor 1,
Steve Partridge, UK, 1975; The Video Touch, Wojciech Bruszewski, Poland, 1977
9. Cutting It: Accessible Video Editing 165
Keeping Marlene Out of the Picture, Eric Cameron, Canada, 1973; Technology/Transformation: Wonder
Woman, Dara Birnbaum, USA, 1979; The Western is Alive, Klaus vom Bruch, West Germany, 1983;
With Child, Catherine Elwes, UK, 1984; Blue Monday, Duvet Brothers, UK, 1984
10. Mixing It: Electronic/Digital Image Manipulation 181
Monument, Ture Sjolander and Lars Week, Sweden, 1967; Merging-Emerging, Peter Donebauer, UK, 1978;
The Reflecting Pool, Bill Viola, USA, 1977-79; Juste le Temps, Robert Cahen, France, 1983; Art of Memory,
Woody Vasulka, USA, 1987; Obsessive Becoming, Daniel Reeves, UK/USA, 1995
11. The Gallery Opens Its Doors: Video Installation and Projection 199
De La, Michael Snow, Canada, 1971; ilnuotatore, Studio Azzurro, Italy, 1984; Television
Circle, Judith Goddard, UK, 1987; The Situation Envisaged: The Rite II,
David Hall, UK, 1988; Tall Ships, Gary Hill, USA, 1992
PART III: THE DEVELOPMENT OF ARTISTS VIDEO AND VIDEO INSTALLATION IN
RESPONSE TO TECHNOLOGICAL CHANGE AND ACCESSIBILITY
12. Fields, Lines and Frames: Video as an Electronic Medium 215
Television Workshops: Broadcast and Cable; Closed-circuit TV Sound and Picture: Colour
and Monochrome; Relationship to Sound, The Picture Signal, The Camera Image,
Recordings and Tape
13. The Means of Production: Feminism and Otherness — Race, Sexuality,
Technology and Access 235
New Technologies: Freedom from History; Performance, Video, Intimacy and Liveness ; Ethnicity, Sexuality, Race
and Issues of Access and Visibility; Alternative Means of Distribution and Exhibition
14. Off the Wall: Video Sculpture and Installation 243
Video Installation: Relationships between Images and Space; Sculptural
Installations and Video Sculpture; Video Projection: Cinema or Television?
15. Going Digital: The Emergence of Digital Video Processing and Effects 261
The Emergence of Digital Effects; Interactivity: New Narrative Possibilities; Computer Editing: Non-Linearity;
The Virtual; Is There a Digital Aesthetic ?
16. The End of Video Art? Convergence and the Blurring of
Boundaries Between Film and Video 277
Convergence. Recent Artists Video and Blurring of
Film and Production Techniques
Glossary of Technical Terms and Processes 285
Notes 289
Bibliography 305
Index 311
LIST OF BLACK AND WHITE ILLUSTRATIONS
1.1: Nam June Paik, Family of Robot: Grandmother and Grandfather, 1986. Courtesy
of the artist and Carl Solway Gallery, Cincinnati, OH. Photo by Carl Kowal 14
1.2: Sony AV 3400 Portapak , 1968. Courtesy of Richard Diehl,
http://www.labguysworld.com 17
2.1: Madelon Hooykaas and Elsa Stansfield, Finding, 1983. Courtesy of the artists 26
2.2: Wojciech Bruszewski, From X to X, 1976. Courtesy of the artist 29
2.3: TVX, Area Code 514, 1969. Photographer John Hoppy Hopkins, www.hoppy.be 37
2.4: David Hall, TV Interruptions, 1971. Courtesy of the artist 40
2.5: David Hall, A Situation Envisaged: The Rite, 1980. Courtesy of the artist 45
2.6: Stephen Partridge, Monitor 1, 1975. Courtesy of the artist 46
2.7: Tamara Krikorian, Disintegrating Forms, Video Installation, Tate Gallery, London.
The Video Show, Education Department, 1976. Courtesy of the artist 47
2.8: Brian Hoey, Videvent, 1975-76. Courtesy of the artist 48
2.9: David Hall and Tony Sinden, 101 TV Sets, 1975. Courtesy of the artists 49
2.10: Tony Sinden, Behold Vertical Devices, 1975. Courtesy of the artist 50
2.11: Tony Sinden, Behold Vertical Devices, sketch, 1975. Courtesy of the artist 50
2.12: Tony Sinden, Behold Vertical Devices, 1975. Courtesy of the artist 51
2.13: Tina Keane, The Swing, 1978. Courtesy of the artist 53
2.14: David Critchley, Static Acceleration, 1976. Courtesy of the artist 54
2.15: David Critchely, Pieces I Never Did, 1979. Courtesy of the artist 55
3.1: Sony CV 2600. Courtesy of Richard Diehl, http://www.labguysworld.com 69
7.1: Ture Sjolander and Lars Week, Monument, 1967. Courtesy of the artist 114
7.2: Woody Vasulka, C-Trend, 1974. Courtesy of the artist 127
7.3: Woody Vasulka, C-Trend, 197 4. Courtesy of the artist 127
7.4: Woody Vasulka, C-Trend, 1974. Courtesy of the artist 127
7.5: Steina, Violin Power, 1978. Courtesy of the artist 130
7.6: Steina, Violin Power, 1978. Courtesy of the artist 130
7.7: Steina, Violin Power, 1978. Courtesy of the artist 131
7.8: Steina, All Vision Machine, 1976. Courtesy of the artist 132
7.9: Spectre Prototype, 1974. Courtesy of Electronic Music Studios (EMS) 132
7.10: Spectron (Production Model), 1975. Courtesy of Electronic Music
Studios (EMS) 132
7.11: Peter Donebauer, diagram of live performance elements, 1978.
Courtesy of the artist 138
7.12: Peter Donebauer during BBC transmission, 1974. Courtesy of the artist 140
7.13: Videokalos prototype interior, 1976. Courtesy of Peter Donebauer 140
7.14: Peter Donebauer and Richard Monkhouse, Vamp Performance, 1977. Courtesy
of Peter Donebauer 141
7.15: The Videokalos Image Processor, production version, 1977—78. Courtesy of
Peter Donebauer 145
8.1: David Hall, This is a Television Receiver, 1976. Courtesy of the artist 157
8.2: Wojciech Bruszewski, The Video Touch, 1976. Courtesy of the artist 160
8.3: Wojciech Bruszewski, The Video Touch, 1977. Courtesy of the artist 160
9.1: Eric Cameron, Keeping Marlene Out of the Picture, 1973. Courtesy of the artist 168
9.2: Eric Cameron, Keeping Marlene Out of the Picture, 1973. Courtesy of the artist 168
9.3: Eric Cameron, Keeping Marlene Out of the Picture, 1973. Courtesy of the artist 169
9.4: Dara Birnbaum, Technology Transformation: Wonder Woman, 1979. Courtesy of
Electronic Arts Intermix (EAI), New York, http://www.eai.org 171
9.5: Catherine Elwes, With Child, 1983. Courtesy of the artist 173
9.6: Catherine Elwes, With Child, 1983. Courtesy of the artist 173
9.7: Klaus vom Bruch, Der Western Lebt, 1983. Courtesy of Electronic Arts Intermix
(EAI), New York, http://www.eai.org 179
10.1: Daniel Reeves, Obsessive Becoming, 1995. Courtesy of the artist 190
10.2: Daniel Reeves, Obsessive Becoming, 1995. Courtesy of the artist 191
11.1: Studio Azzurro, // Nuotatore, 1984. Courtesy of the artists 203
11.2: David Hall, A Situation Envisaged: The Rite, diagram, 1980. Courtesy of
the artist 207
11.3: Gary Hill, Tall Ships, 1992. Sixteen-channel video installation. Sixteen modified
4-inch black and white monitors with projection lenses, Sixteen laserdisc players,
sixteen laserdiscs, one computer with 16 RS-232 control port and pressure-sensitive
switching runners, black or dark grey carpet, and controlling software. Dimensions
of corridor: lOh x lOw x 90 feet. Edition of two and one artists proof. Installation:
Documenta IX, Museum Fridericianum, Kassel, Germany, 1992. Courtesy of the
artist and Donald Young Gallery, Chicago. Photo by Dirk Bleicker 210
11.4: Gary Hill, Tall Ships (detail), 1992. Sixteen-channel video installation. Sixteen
modified 4-inch black and white monitors with projection lenses, Sixteen laserdisc
players, sixteen laserdiscs, one computer with 16 RS-232 control port and
pressure-sensitive switching runners, black or dark grey carpet, and controlling
software. Dimensions of corridor: lOh x lOw x 90 feet. Edition of two and one
artist s proof. Courtesy of the artist and Donald Young Gallery, Chicago. Photo by
Mark B. McLoughlin 210
12.1: Sony VO-3800, 1976. Courtesy or Richard Diehl, http://www.labguysworld.com 218
12.2: Sony VO 4800 Portable U-Matic Recorder, 1980. Courtesy of Richard Diehl,
http://www.labguysworld.com 218
12.3: Gary Hill, Why Do Things Get in a Muddle? (Come on Petunia), 1984. Video
(colour, stereo sound); 32:00. Courtesy of the artist and Donald Young
Gallery, Chicago 222
12.4: Gary Hill, Why Do Things Get in a Muddle? (Come on Petunia), 1984. Video
(colour, stereo sound); 32:00. Courtesy of the artist and Donald Young Gallery,
Chicago 222
12.5: Gary Hill, Why Do Things Get in a Muddle? (Come on Petunia), 1984.
Video (colour, stereo sound); 32:00. Courtesy of the artist and Donald
Young Gallery, Chicago 223
12.6: Mary Lucier, Dawn Burn, 1975. Courtesy of the artist 226
12.7: Mary Lucier, Dawn Burn, 1975. Courtesy of the artist 226
12.8: Mary Lucier, Dawn Burn, 1975. Courtesy of the artist 227
12.9: Mary Lucier, Dawn Burn, 1975. Courtesy of the artist 227
13.1: Martha Rosier, Semiotics of the Kitchen, 1975. Courtesy of Electronic Arts
Intermix (EAI), New York, http://www.eai.org 237
13.2: Katherine Meynell, Hannah s Song, 1987. Courtesy of the artist 238
13.3: Katherine Maynell, Hannah s Song, 1987. Courtesy of the artist 239
14.1: Madelon Hooykaas and Elsa Stansfield, Compass (outside), 1984.
Courtesy of the artists 248
14.2: Madelon Hooykaas and Elsa Stansfield, Compass (inside), 1984.
Courtesy of the artists 248
14.3: Marty St James and Anne Wilson, The Smoking Man, 1991.
Courtesy of the artists 249
14.4: Marty St James and Anne Wilson, The Actor (Neil Bartlett), 1990.
Courtesy of the artists 249
14.5: Studio Azzurro, II Nuotatore, 1984. Courtesy of the artists 251
14.6: Peter Campus, Interface, 1975. Courtesy of the artist 254
14.7: Peter Campus, mem, 1974. Courtesy of the artist 255
14.8: Peter Campus, Shadow Projection, 1975. Courtesy of the artist 256
14.9: Peter Campus, diagram for Kiva, 1971. Courtesy of the artist 256
14.10: Tony Oursler, Judy, 1994. Courtesy of the artist and Lisson Gallery, London 257
15.1: Jeremy Welsh, IOD, 1984. Courtesy of the artist 263
15.2: Jeremy Welsh, Reflections, 1986. Courtesy of the artist 263
15.3: Chris Meigh-Andrews, Mind s Eye, 1997. Courtesy of the artist 266
15.4: Chris Meigh-Andrews, Mothlight, 1998. Courtesy of the artist 269
15.5: Chris Meigh-Andrews, diagram for Merging-Emerging, 1998. Courtesy of
the artist 269
15.6: Malcolm Le Grice, Arbitrary Logic, 1986. Courtesy of the artist 270
15.7: Malcolm Le Grice, Chronos Fragmented, 1995. Courtesy of the artist 272
15.8: Malcolm Le Grice, Chronos Fragmented, 1995. Courtesy of the artist 272
15.9: Simon Biggs, Alchemy, 1990. Courtesy of the artist 274
15.10: Simon Biggs, Alchemy, detail, 1990. Courtesy of the artist 275
15.11: Susan Collins, Pedestrian Gestures, 1994. Courtesy of the artist 276
|
| adam_txt |
Titel: A history of video art
Autor: Meigh-Andrews, Chris
Jahr: 2006
CONTENTS
List of Black and White Illustrations vii
List of Colour Plates xi
Acknowledgements xiii
PART I: THE ORIGINS OF VIDEO ART:
THE HISTORICAL AND CULTURAL CONTEXT
1. In the Beginning: The Origins of Video Art 5
2. Crossing Boundaries: International
Tendencies and Influences in Early Artists' Video 19
3. Technology, Access and Context: Social and Political
Activists and Their Role in the Development of Video Art 59
4. Expanded Cinema: The Influence and Relationship of
Experimental, Avant-Garde and Underground Film 71
5. Musique Concrete, Fluxus and Tape Loops: The Influence and Impact
of Sound Recording and Experimental Music on Video Art 89
6. Theory and Practice: The Influence and Impact of Theoretical
Ideas on Technology-Based Practice in the 1970s 101
7. Beyond the Lens: Abstract Video Imagery
and Image Processing 111
PART II: A DISCUSSION OF SOME REPRESENTATIVE AND INFLUENTIAL
VIDEO ART WORKS SET IN RELATION TO THEIR TECHNICAL
AND CRITICAL CONTEXT
8. In and Out of the Studio:
The Advent of Inexpensive Non-Broadcast Video 149
Vertical Roll, Joan Jonas, USA, 1972; Television Delivers People, Richard Serra and Carlotta
Fay Schoolman, USA, 1973; This is a Television Monitor, David Hall, UK, 1973; Monitor 1,
Steve Partridge, UK, 1975; The Video Touch, Wojciech Bruszewski, Poland, 1977
9. Cutting It: Accessible Video Editing 165
Keeping Marlene Out of the Picture, Eric Cameron, Canada, 1973; Technology/Transformation: Wonder
Woman, Dara Birnbaum, USA, 1979; The Western is Alive, Klaus vom Bruch, West Germany, 1983;
With Child, Catherine Elwes, UK, 1984; Blue Monday, Duvet Brothers, UK, 1984
10. Mixing It: Electronic/Digital Image Manipulation 181
Monument, Ture Sjolander and Lars Week, Sweden, 1967; Merging-Emerging, Peter Donebauer, UK, 1978;
The Reflecting Pool, Bill Viola, USA, 1977-79; Juste le Temps, Robert Cahen, France, 1983; Art of Memory,
Woody Vasulka, USA, 1987; Obsessive Becoming, Daniel Reeves, UK/USA, 1995
11. The Gallery Opens Its Doors: Video Installation and Projection 199
De La, Michael Snow, Canada, 1971; ilnuotatore, Studio Azzurro, Italy, 1984; Television
Circle, Judith Goddard, UK, 1987; The Situation Envisaged: The Rite II,
David Hall, UK, 1988; Tall Ships, Gary Hill, USA, 1992
PART III: THE DEVELOPMENT OF ARTISTS' VIDEO AND VIDEO INSTALLATION IN
RESPONSE TO TECHNOLOGICAL CHANGE AND ACCESSIBILITY
12. Fields, Lines and Frames: Video as an Electronic Medium 215
Television Workshops: Broadcast and Cable; Closed-circuit TV Sound and Picture: Colour
and Monochrome; Relationship to Sound, The Picture Signal, The Camera Image,
Recordings and Tape
13. The Means of Production: Feminism and 'Otherness' — Race, Sexuality,
Technology and Access 235
New Technologies: Freedom from History; Performance, Video, Intimacy and 'Liveness'; Ethnicity, Sexuality, Race
and Issues of Access and Visibility; Alternative Means of Distribution and Exhibition
14. Off the Wall: Video Sculpture and Installation 243
Video Installation: Relationships between Images and Space; Sculptural
Installations and Video Sculpture; Video Projection: Cinema or Television?
15. Going Digital: The Emergence of Digital Video Processing and Effects 261
The Emergence of Digital Effects; Interactivity: New Narrative Possibilities; Computer Editing: Non-Linearity;
The Virtual; Is There a 'Digital Aesthetic'?
16. The End of Video Art? Convergence and the Blurring of
Boundaries Between Film and Video 277
Convergence. Recent Artists' Video and Blurring of
Film and Production Techniques
Glossary of Technical Terms and Processes 285
Notes 289
Bibliography 305
Index 311
LIST OF BLACK AND WHITE ILLUSTRATIONS
1.1: Nam June Paik, Family of Robot: Grandmother and Grandfather, 1986. Courtesy
of the artist and Carl Solway Gallery, Cincinnati, OH. Photo by Carl Kowal 14
1.2: Sony AV 3400 'Portapak', 1968. Courtesy of Richard Diehl,
http://www.labguysworld.com 17
2.1: Madelon Hooykaas and Elsa Stansfield, Finding, 1983. Courtesy of the artists 26
2.2: Wojciech Bruszewski, From X to X, 1976. Courtesy of the artist 29
2.3: TVX, Area Code 514, 1969. Photographer John Hoppy Hopkins, www.hoppy.be 37
2.4: David Hall, TV Interruptions, 1971. Courtesy of the artist 40
2.5: David Hall, A Situation Envisaged: The Rite, 1980. Courtesy of the artist 45
2.6: Stephen Partridge, Monitor 1, 1975. Courtesy of the artist 46
2.7: Tamara Krikorian, Disintegrating Forms, Video Installation, Tate Gallery, London.
The Video Show, Education Department, 1976. Courtesy of the artist 47
2.8: Brian Hoey, Videvent, 1975-76. Courtesy of the artist 48
2.9: David Hall and Tony Sinden, 101 TV Sets, 1975. Courtesy of the artists 49
2.10: Tony Sinden, Behold Vertical Devices, 1975. Courtesy of the artist 50
2.11: Tony Sinden, Behold Vertical Devices, sketch, 1975. Courtesy of the artist 50
2.12: Tony Sinden, Behold Vertical Devices, 1975. Courtesy of the artist 51
2.13: Tina Keane, The Swing, 1978. Courtesy of the artist 53
2.14: David Critchley, Static Acceleration, 1976. Courtesy of the artist 54
2.15: David Critchely, Pieces I Never Did, 1979. Courtesy of the artist 55
3.1: Sony CV 2600. Courtesy of Richard Diehl, http://www.labguysworld.com 69
7.1: Ture Sjolander and Lars Week, Monument, 1967. Courtesy of the artist 114
7.2: Woody Vasulka, C-Trend, 1974. Courtesy of the artist 127
7.3: Woody Vasulka, C-Trend, 197'4. Courtesy of the artist 127
7.4: Woody Vasulka, C-Trend, 1974. Courtesy of the artist 127
7.5: Steina, Violin Power, 1978. Courtesy of the artist 130
7.6: Steina, Violin Power, 1978. Courtesy of the artist 130
7.7: Steina, Violin Power, 1978. Courtesy of the artist 131
7.8: Steina, All Vision Machine, 1976. Courtesy of the artist 132
7.9: Spectre Prototype, 1974. Courtesy of Electronic Music Studios (EMS) 132
7.10: Spectron (Production Model), 1975. Courtesy of Electronic Music
Studios (EMS) 132
7.11: Peter Donebauer, diagram of live performance elements, 1978.
Courtesy of the artist 138
7.12: Peter Donebauer during BBC transmission, 1974. Courtesy of the artist 140
7.13: Videokalos prototype interior, 1976. Courtesy of Peter Donebauer 140
7.14: Peter Donebauer and Richard Monkhouse, Vamp Performance, 1977. Courtesy
of Peter Donebauer 141
7.15: The Videokalos Image Processor, production version, 1977—78. Courtesy of
Peter Donebauer 145
8.1: David Hall, This is a Television Receiver, 1976. Courtesy of the artist 157
8.2: Wojciech Bruszewski, The Video Touch, 1976. Courtesy of the artist 160
8.3: Wojciech Bruszewski, The Video Touch, 1977. Courtesy of the artist 160
9.1: Eric Cameron, Keeping Marlene Out of the Picture, 1973. Courtesy of the artist 168
9.2: Eric Cameron, Keeping Marlene Out of the Picture, 1973. Courtesy of the artist 168
9.3: Eric Cameron, Keeping Marlene Out of the Picture, 1973. Courtesy of the artist 169
9.4: Dara Birnbaum, Technology Transformation: Wonder Woman, 1979. Courtesy of
Electronic Arts Intermix (EAI), New York, http://www.eai.org 171
9.5: Catherine Elwes, With Child, 1983. Courtesy of the artist 173
9.6: Catherine Elwes, With Child, 1983. Courtesy of the artist 173
9.7: Klaus vom Bruch, Der Western Lebt, 1983. Courtesy of Electronic Arts Intermix
(EAI), New York, http://www.eai.org 179
10.1: Daniel Reeves, Obsessive Becoming, 1995. Courtesy of the artist 190
10.2: Daniel Reeves, Obsessive Becoming, 1995. Courtesy of the artist 191
11.1: Studio Azzurro, // Nuotatore, 1984. Courtesy of the artists 203
11.2: David Hall, A Situation Envisaged: The Rite, diagram, 1980. Courtesy of
the artist 207
11.3: Gary Hill, Tall Ships, 1992. Sixteen-channel video installation. Sixteen modified
4-inch black and white monitors with projection lenses, Sixteen laserdisc players,
sixteen laserdiscs, one computer with 16 RS-232 control port and pressure-sensitive
switching runners, black or dark grey carpet, and controlling software. Dimensions
of corridor: lOh x lOw x 90 feet. Edition of two and one artists proof. Installation:
Documenta IX, Museum Fridericianum, Kassel, Germany, 1992. Courtesy of the
artist and Donald Young Gallery, Chicago. Photo by Dirk Bleicker 210
11.4: Gary Hill, Tall Ships (detail), 1992. Sixteen-channel video installation. Sixteen
modified 4-inch black and white monitors with projection lenses, Sixteen laserdisc
players, sixteen laserdiscs, one computer with 16 RS-232 control port and
pressure-sensitive switching runners, black or dark grey carpet, and controlling
software. Dimensions of corridor: lOh x lOw x 90 feet. Edition of two and one
artist's proof. Courtesy of the artist and Donald Young Gallery, Chicago. Photo by
Mark B. McLoughlin 210
12.1: Sony VO-3800, 1976. Courtesy or Richard Diehl, http://www.labguysworld.com 218
12.2: Sony VO 4800 Portable U-Matic Recorder, 1980. Courtesy of Richard Diehl,
http://www.labguysworld.com 218
12.3: Gary Hill, Why Do Things Get in a Muddle? (Come on Petunia), 1984. Video
(colour, stereo sound); 32:00. Courtesy of the artist and Donald Young
Gallery, Chicago 222
12.4: Gary Hill, Why Do Things Get in a Muddle? (Come on Petunia), 1984. Video
(colour, stereo sound); 32:00. Courtesy of the artist and Donald Young Gallery,
Chicago 222
12.5: Gary Hill, Why Do Things Get in a Muddle? (Come on Petunia), 1984.
Video (colour, stereo sound); 32:00. Courtesy of the artist and Donald
Young Gallery, Chicago 223
12.6: Mary Lucier, Dawn Burn, 1975. Courtesy of the artist 226
12.7: Mary Lucier, Dawn Burn, 1975. Courtesy of the artist 226
12.8: Mary Lucier, Dawn Burn, 1975. Courtesy of the artist 227
12.9: Mary Lucier, Dawn Burn, 1975. Courtesy of the artist 227
13.1: Martha Rosier, Semiotics of the Kitchen, 1975. Courtesy of Electronic Arts
Intermix (EAI), New York, http://www.eai.org 237
13.2: Katherine Meynell, Hannah's Song, 1987. Courtesy of the artist 238
13.3: Katherine Maynell, Hannah's Song, 1987. Courtesy of the artist 239
14.1: Madelon Hooykaas and Elsa Stansfield, Compass (outside), 1984.
Courtesy of the artists 248
14.2: Madelon Hooykaas and Elsa Stansfield, Compass (inside), 1984.
Courtesy of the artists 248
14.3: Marty St James and Anne Wilson, The Smoking Man, 1991.
Courtesy of the artists 249
14.4: Marty St James and Anne Wilson, The Actor (Neil Bartlett), 1990.
Courtesy of the artists 249
14.5: Studio Azzurro, II Nuotatore, 1984. Courtesy of the artists 251
14.6: Peter Campus, Interface, 1975. Courtesy of the artist 254
14.7: Peter Campus, mem, 1974. Courtesy of the artist 255
14.8: Peter Campus, Shadow Projection, 1975. Courtesy of the artist 256
14.9: Peter Campus, diagram for Kiva, 1971. Courtesy of the artist 256
14.10: Tony Oursler, Judy, 1994. Courtesy of the artist and Lisson Gallery, London 257
15.1: Jeremy Welsh, IOD, 1984. Courtesy of the artist 263
15.2: Jeremy Welsh, Reflections, 1986. Courtesy of the artist 263
15.3: Chris Meigh-Andrews, Mind's Eye, 1997. Courtesy of the artist 266
15.4: Chris Meigh-Andrews, Mothlight, 1998. Courtesy of the artist 269
15.5: Chris Meigh-Andrews, diagram for Merging-Emerging, 1998. Courtesy of
the artist 269
15.6: Malcolm Le Grice, Arbitrary Logic, 1986. Courtesy of the artist 270
15.7: Malcolm Le Grice, Chronos Fragmented, 1995. Courtesy of the artist 272
15.8: Malcolm Le Grice, Chronos Fragmented, 1995. Courtesy of the artist 272
15.9: Simon Biggs, Alchemy, 1990. Courtesy of the artist 274
15.10: Simon Biggs, Alchemy, detail, 1990. Courtesy of the artist 275
15.11: Susan Collins, Pedestrian Gestures, 1994. Courtesy of the artist 276 |
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| discipline | Kunstgeschichte |
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| illustrated | Illustrated |
| index_date | 2024-07-02T16:44:56Z |
| indexdate | 2024-07-09T20:53:43Z |
| institution | BVB |
| isbn | 9781845202194 9781845202187 1845202198 |
| language | English |
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| spelling | Meigh-Andrews, Chris Verfasser aut A history of video art the development of form and function Chris Meigh-Andrews Video art Oxford [u.a.] Berg 2006 318 S. zahlr. Ill. txt rdacontent n rdamedia nc rdacarrier Geschichte gnd rswk-swf Geschichte Video art History Videokunst (DE-588)4188229-5 gnd rswk-swf Videokunst (DE-588)4188229-5 s Geschichte z DE-604 HBZ Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015478006&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Meigh-Andrews, Chris A history of video art the development of form and function Geschichte Video art History Videokunst (DE-588)4188229-5 gnd |
| subject_GND | (DE-588)4188229-5 |
| title | A history of video art the development of form and function |
| title_alt | Video art |
| title_auth | A history of video art the development of form and function |
| title_exact_search | A history of video art the development of form and function |
| title_exact_search_txtP | A history of video art the development of form and function |
| title_full | A history of video art the development of form and function Chris Meigh-Andrews |
| title_fullStr | A history of video art the development of form and function Chris Meigh-Andrews |
| title_full_unstemmed | A history of video art the development of form and function Chris Meigh-Andrews |
| title_short | A history of video art |
| title_sort | a history of video art the development of form and function |
| title_sub | the development of form and function |
| topic | Geschichte Video art History Videokunst (DE-588)4188229-5 gnd |
| topic_facet | Geschichte Video art History Videokunst |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015478006&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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