Video Art Part 2

Dan Graham Body Press 1972 film Dan Graham «Body Press» Film installation of two synchronized silent 16mm-film projections, color, 8'. Two filmmakers stand within a surrounding and completely mirrorized cylinder, body trunk stationary, hands holding and pressing a camera's back-end flush to, while slowly rotating it about, the surface cylin-der of their individual bodies. One rotation circumscribes the body's contour, spiralling slightly upward with the next turn. With successive rotations, the body surface areas are completely covered as a template by the back of the camera(s) until eye-level (view through camera's eyes) is reached; then a reverse mapping downward begins until the original starting point is reached. The rotations are at a correlated speed; when each camera is rotated to each body's rear it is then facing and film-ing the other where they are exchanged so the camera's ‹identity› ‹changes hands› and each performer is handling a new camera. The cameras are of different size and mass. In the process, the performers are to concentrate on the coexistent, simultaneous identity of both camera's describing them and their body. (The camera may/or may not be read as an extension of the body's identity.) Optically, the two cameras film the Image reflected on the mirror which is the same surface as the box (and lens) of the cam-era's five visible sides, the body of the performer, and (possibly) his eyes on the mirror (In projection what is seen by the spectator). The camera's angle of orientation/view of the area of the mirror's reflective image is determined by the placement of the cam-era on the body contour at a given moment. (The camera might be pressed against the ehest but such an upward angle shows head and eyes). To the spectator the camera's optical vantage is the skin. (An exception is when the performer's eyes are also seen reflected or the cameras are seen filming the other). The performer's musculature is 'seen' pressing into the surface of the body (pulling inside out). At the same time, kinesthetically, the handling of the camera can be 'felt', by the spectator, as surfacetension, as the hidden side of the camera presses and slides against the skin it cov-ers at a particular moment. The films are projected at the same time on two loop projectors, very large size on two opposite, but very close, room walls. A member of the audience (man or woman) might identify with one image or the other from the same camera or can identify with one body or the other, shifting their view each time to face the other screen when the cameras are exchanged.

William Wegman Early Work (excerpts): eo/xaeydy_william-wegman- early-videos2_creation# eo/xaeydy_william-wegman- early-videos2_creation# 1970 video recorded on Sony CV 1/2” open reel to reel

Peter Campus Three Transitions 1973 video

Dara Birnbaum Technology/Transformation: Wonder Woman 1978 video

Gary Hill Wall Piece (2000) timedia/videos/223 timedia/videos/223 Crux (1983 – 87) rux/ rux/ Postings on Crux: /gary-hill-crux video-installation /gary-hill-crux video-installation Clip with artist voice over on “Crux” like piece: madisonartshop/33230.wmv madisonartshop/33230.wmv SFMOMA compilation: timedia/interactive_features/11# timedia/interactive_features/11#

Adrian Piper Cornered 1988 video monitor, table, birth certificates

Peter Fischli + David Weiss The Way Things Go (Der Lauf Der Dinge) 1987 video 29 minutes, 40 seconds

Bill Viola Heaven and Earth 1992 Video and two facing cathode ray tubes The boundary between life and death is a strong theme that runs through some of his work, notably Heaven and Earth (1992). A white column rises from the floor to the ceiling, divided in the middle by two television screens that face each other. The lower screen shows a close-up image of a new-born baby, only days old while the upper screen shows a close-up image of an old woman, hospitalized and in the last week of her life. The glass screens of the television monitors allow both of the images to be reflected in the other: birth and death infuse each other. The monitors are exposed cathode ray tubes, attached to the columns only by four thin metal bars. This exposure of the fragile technology comes across as a strong metaphor for the fragility of human body and was a deliberate conceptual link that Viola aimed to present. --Ashley Rawlings (2006)

Bill Viola Nantes Triptych 1992 video installation

Bill Viola Ocean without a Shore 2007 Church of San Gallo, Venice color high-definition video triptych, two 65 in. plasma screens, one 103 in. screen mounted vertically, six loudspeakers (three pairs stereo sound )

Bill Viola Ocean without a Shore 2007 Church of San Gallo, Venice color high-definition video triptych, two 65 in. plasma screens, one 103 in. screen mounted vertically, six loudspeakers (three pairs stereo sound)

Tony Oursler Projected Video Projects

Sadie Benning Jollies (1992) Shot on PixelVision toy video camera sadie-benning-jollies-1992

Pipilotti Rist Ever Is Over All (1997) a56RPZ_cbdc

Christian Marclay Video Quartet 2002 Video installation The Clock 2010 Video installation synched in real time

Shirin Neshat Rapture, Still Photos, Video, and Interview A.4.FOTOS.ShirinNeshat.htm Video excerpt from Zarim: wNz9jK82U0 wNz9jK82U0 Interview on Charlie Rose (fast forward to 2nd interview) m1pwqlvMCs (August 25, 2007) m1pwqlvMCs

Xavier Cha Video installation from Body mounted cameras (2011)

Kade Twist For You Shall Pass Through the Water of Another Channel Video installation