A History of Video Art
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A History of Video Art is a revised and expanded edition of the 2006 original, which extends the scope of the first edition, incorporating a wider range of artists and works from across the globe and explores and examines developments in the genre of artists' video from the mid 1990s up to the present day. In addition, the new edition expands and updates the discussion of theoretical concepts and ideas which underpin contemporary artists' video.
Tracking the changing forms of video art in relation to the revolution in electronic and digital imaging that has taken place during the last 50 years, A History of Video Art orients video art in the wider art historical context, with particular reference to the shift from the structuralism of the late 1960s and early 1970s to the post-modernist concerns of the 1980s and early 1990s. The new edition also explores the implications of the internationalisation of artists' video in the period leading up to the new millennium and its concerns and preoccupations including post-colonialism, the post-medium condition and the impact and influence of the internet.
Cologne.2 In partnership with the artist Bernhard Hoke and his first wife Hannah Weitemeier, Schum developed a collaborative approach in which the interaction between the subject of the broadcast and the filmmaking process was a crucial element in the final product. This approach was very much in line with the prevailing attitude of the most progressive contemporary artists of the period – the very work that Schum and his collaborators were presenting. New industrial processes and techniques were
screening rooms. This new breed of artist/ video maker often adopted an approach related to documentary and social /political themes, rejecting the illusion of the impartiality and ‘balance’ of conventional broadcast TV, and opting for an approach to the medium that incorporated their own doubts and uncertainties and foregrounding the position and bias of the maker(s) and the medium within the work. This second generation of Brazilian artists working with video include Rafael França (Du Vain
China’s feudal culture and of the comprador culture which serves imperialist aggression, and weakened their influence.40 However, by the 1980s Chinese artists began to react against the ‘socialist realist’ style championed by the communist regime that had been the dominant and authorized form during the previous 40 years, in favour of more radical approaches. Established and traditional media such as painting and drawing were rejected in favour of photography, installation, performance and
errors and omissions present in the first edition and I would like to thank those artists and readers who have made suggestions and pointed out mistakes and inaccuracies. This edition has been expanded to include brief summaries of the development of the genre in a number of countries – Japan, Australia, China, India and Brazil as well as discussions of new works by artists working in countries not previously covered, such as South Africa, Brazil, Japan, Pakistan and Israel. These are of course
physical and perceptual space between. Examples of Expanded Cinema in the UK include Le Grice’s Horror Film 1 (1971) Tony Hill’s Point Source (1974) and Annabel Nicolson’s Reel Time (1973). These works all involved a direct performance aspect, the filmmaker performing a specific action in relation to the film material. Events had a specific duration tied into the length of the film material and the filmmaker/performer’s action. Dusinberre identifies a further significant development which is both