Video Art part 1

Video Art All art is about communication, but the video arts in particular are about mass communication. Video depends upon the current state of technological developments more than almost any other medium.

Which 2 crucial inventions led to the birth of video?

Video Art 2 crucial inventions that led to the birth of video: - a video camera - a TV set

How Does It Work? Video cameras are used primarily in 2 modes: 1) a live broadcast, where the camera feeds real time images directly to a screen. 2) the images are recorded to a storage device for archiving or further processing such as: 1.videotape 2.CD-Rom 3.mini DV tape

Video Art. Where Did It All Start? The 1 st official TV broadcast in the U.S. – 1939 (in conjunction with the NYC World’s Fair) TV becomes part of the American life – 1950s By 1953 – 2/3rds of American households have TVs By 1960 – up to 90% TVs were initially made for the public, video cameras only for professionals (Ex: major network studios)

Video Art. Where Did It All Start? The 1 st portable video camera with a magnetic tape recorder is released and marketed to the general public – 1960 Individual artists start to experiment with the new medium. Video art is born – mid 1960s

The Art World in the 1950s-60s Artists are experimenting with all kinds of mediums, Trying to brake away from the traditional notions of art. Robert Rauschenberg, NYC

The Art World in the 1950s-60s There no longer any particular materials that enjoy the privilege of being immediately recognizable as art media. Andy Goldsworthy Andy Goldsworthy – earth art installation James Turrell, “Gard Red” (1968) – mixed media installation

The Art World in the 1950s-60s Anything can become art, even ready-made objects. The meaning of an artwork does not necessarily lie within it, but often times arises out of the context in which it exists. Marcel Duchamp: Fountain (1917), Bicycle Wheel (1951)

Dada & Fluxus – emphasis on formal instructions & process + the willingness to embrace chance. In life, things just happen. Ex: Marcel Duchamp, “Rotary Glass Plates”, 1920 Ex: Nam June Paik, “Random Access”, 1963 The Art World in the 1950s-60s

Alan Kaprow coins the term “lifelike art”. New art forms are created such as performance art, happenings, etc. The distinction between art and the everyday is no longer relevant.

Audience Becomes Part of the Work “To look at art is not to consume it passively, but to become part of a world in which both that art and the spectator belong. Looking is not passive, it does not leave things unchanged.” – Michael Rush Yoko Ono, Wish TreeYoko Ono, Cut PieceCut Piece

The Art World in the 1950s-60s Pop artists often times drew their inspiration from the banality of urban America. Their work acted as a critique of the commercialization of mass media, TV, advertising, consumption, etc. Andy Warhol James RosenquistAndy Warho

The Art World in the 1950s-60s A “dematerialization” of art occurs as artists highlight the importance of the creative process over the final product. Ex: art made of the leftovers of some prior activity. Bruce Nauman, “Composite Photo of 2 Messes on the Studio Floor”, 1967

Conceptual Art: 1950s-70s In Conceptual Art, “the idea becomes the machine that drives the work.” (Sol LeWitt) As Video Art develops: 1.It starts having a dialog with Mass Media: TV, Radio, etc. 2.It becomes part of installation and performance art (time & space are the important new elements explored by artists)

Video Art vs Film & Television “By the 1960s the total commercialization of corporate television had been accomplished, & to media watchdogs and many artists, television was becoming the enemy. Americans were watching up to 7 hours of TV daily and a new consumer society was forming...” - Michael Rush, New Media in Art

Video, Film, TV – Main Differences 1.Video work is not a commercial product for sale or mass consumption. 2.“Artful techniques may enliven commercial TV, ads, etc., but these techniques are not in themselves what we would call art. Art lies in the intentionality of the artist…to create a moment of personal expression.” – Michael Rush 3.Videos are made by professional artists, who started to use moving images as an extension of their artistic practice.

Fluxus Films 1960s -70s

Fluxus films Short films created by artists of the Fluxus movement between 1960 and 1970 Fluxus – (in Latin means “to flow”) Is an international network of artists, composers and designers noted for blending different artistic media and disciplines in the 1960s. Minimalist aesthetics (depict minimal action) Examples: a collection of 32 short films32 short films

Nam June Paik – Video Art Pioneer A Korean-born Fluxus artist. Studied music under John Cage in Germany. He was as fascinated with the TV sets as the moving images themselves. Paik’s video tapes were not commercial products, but means of personal expression.

Zen for Film, Nam June Paik, , video Fluxus film by Paik

Nam June Paik – Zen for Film Paik’s film turned its back to the entire mechanism of large scale movie making. The film was nothing more than approximately one thousand feet of clear 16-mm leader projected unprocessed, onto the screen with a running time of 30 minutes. Stripping film to its barest essential (the film stock itself), Paik’s imageless projection became the minimalist example for all Fluxfilms to follow.

Disappearing Music for the Face, Peter Moore, 1966, video Fluxus film by Moore

Brief Summary: -After 1945, we see a drastic move away from traditional (classical) art -Video art is born in the U.S. in the 1960s -Video art is created by professional artists -Video art is all about experimentation -Video art is not commercial! -Video art is a form of self-expression