By Chris Meigh-Andrews
A background of Video artwork is a revised and extended version of the 2006 unique, which extends the scope of the 1st variation, incorporating a much broader diversity of artists and works from around the globe and explores and examines advancements within the style of artists’ video from the mid Nineties as much as the current day. additionally, the hot variation expands and updates the dialogue of theoretical recommendations and ideas which underpin modern artists’ video.
Tracking the altering types of video artwork in terms of the revolution in digital and electronic imaging that has taken position over the last 50 years, A historical past of Video paintings orients video paintings within the wider paintings old context, with specific connection with the shift from the structuralism of the overdue Sixties and early Seventies to the post-modernist matters of the 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 hot millennium and its issues and preoccupations together with post-colonialism, the post-medium situation and the impression and impression of the internet.
“Meigh-Andrews perspectives his historical past in the course of the lens of technological improvement, while by no means wasting sight of the numerous artists' artistic and subjective visions, which he covers via consultant case reports of important works. The wide new photo learn deals resonant photographs that evoke thoughts for a few and discovery for brand spanking new readers. This booklet is key studying for all scholars, students, artists and curators who're drawn to the subject.” – Professor Stephen Partridge, artist and significant Investigator for REWIND | Artists' Video within the Seventies & 80s, Duncan of Jordanstone university of paintings and layout, college of Dundee, UK
“No different author on video has Meigh-Andrews' grab of the sensation of operating with digital media, in all their types because the Sixties: the artist's viewpoint on making and displaying. With new fabric increasing the temporal and geographic succeed in of the booklet, A historical past of Video paintings is the fundamental consultant to the paintings shape that greater than the other defines seeing during the last part century.” – Sean Cubitt, Professor of movie and tv, Goldsmiths, college of London, UK
“Covering either video paintings many different similar media applied sciences and artwork different types of the second one a part of the 20 th century, this publication is a lovely and distinct source. I hugely suggest to anyone attracted to the heritage, aesthetics, and social context of media art.” – Lev Manovich, Professor, The Graduate middle, urban collage of latest York, united states and Director, software program reviews Lab
“Meigh-Andrews’ personal major contribution to video perform and his visible familiarity with the British video artwork scene has led to an insightful advisor to the improvement of the medium and the encircling discourses. The booklet is a perfect advent to video for the scholar or common reader whereas delivering for the historian of latest paintings an efficient key for establishing up the complexities of the old and technological nuances of the medium.” – Samantha Lackey, “Screen Studies”, The paintings booklet, Vol. 14, factor three, August 2007, Blackwell Synergy, pp 63-64 (First variation review)
“An first-class and great addition to modern writing on video artwork. It has what most of the different books are lacking: it has even more element at the know-how at the back of the cameras, modifying structures and installations; it situates video paintings when it comes to the opposite artwork hobbies; and it bargains an in-depth dialogue of video art's hyperlinks to experimental track. in case you (or your scholars) have entry to the Video information financial institution "Surveying the 1st Decade," this e-book is a brilliant praise to some of the movies featured during this assortment. It offers special bills of many key works and is especially robust on figures like Woody and Steina Vasulka, British video paintings and ecu video paintings which loads of books forget about totally. i'd suggest this in tandem with Illuminated Video.” – Andrew Dimirjian, NYC, US (First variation assessment)
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Additional info for A History of Video Art (2nd Edition)
Nam June Paik’s frequently quoted slogan ‘TV has been attacking us all our lives – now we can attack it back’ has an important place in all this. indd 18 10/09/2013 09:45 Portapak’s accessibility, its instantaneity, the ‘available light’ capabilities of the camera, and the grainy, low-resolution grittiness of the monochrome image it produced very appealing. But there were a number of other significant factors besides the introduction of cheap portable video recording equipment and the state of broadcast TV to the genesis of video art.
Paik felt this secrecy necessary because he was particularly wary of criticism, and nervous that other artists would prematurely take up his ideas. Working occasionally with an electronics engineer, Paik set to work modifying the circuitry of a number of television receivers – literally making ‘prepared’ televisions, perhaps drawing on the idea of Cage’s prepared pianos. indd 13 13 10/09/2013 09:45 14 the origins of video art producing sound, it’s natural that you think that the same thing might apply to video… .
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.
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