1. Video Art

3. This is the First Television Set in the World: The “Baird Televisor”, 1928. An early experimental and demonstration “Baird-type” television receiver with 30 lines, and Nipkow disc which turned with a speed of 750 rpm producing 12 1/2 pictures per second. The motor still runs on a standard 18-volt battery. A spectacular demonstration model of the birth of television!.

4. 1939: RCA Transparent TRK-12 Television at the World's Fair Many people had their first look at television at the 1939 World's Fair in New York. RCA had a number of TRK-12 televisions on display in their impressive exhibit hall that was shaped like a Vacuum Tube. The centerpiece was the Phantom TRK-12 shown above, whose cabinet was made of transparent Lucite. Having the transparent casing convinced skeptics that TV really worked and wasn't all smoke-and-mirrors. The TRK-12 had the CRT facing straight up, and the screen was watched by looking into a mirror.1939 World's FairTRK-12Vacuum TubePhantom TRK-12

5. The TK-40 and its modified successor, the TK-41, were the first television cameras able to broadcast live color images. Beginning with the "Colgate Comedy Hour" on 11/22/53 these camera were in wide use at TV network and affiliate studios, as well as independent TV production facilities through the 1960's.

6. Nancy Reagan Waves To Ronald At 1984 Republican Convention Nancy Reagan standing at podium during 1984 Republican National convention waving to image of husband Ron seen on a video screen from his hotel suite in Dallas Texas, 1984. (Photo by John Ficara/Woodfin Camp/Woodfin Camp/Time Life Pictures/Getty Images)

7. Wolf Vostell Dé-coll/ages From 1958 on… Sculpture with TV Wolf Vostell was the first artist in art history to integrate a television set into a work of art. This installation was created in 1958 under the title Cycle Black Room/Deutscher Ausblick ("German view") is now part of the collection of the art museum Berlinische Galerie in Berlin. Early works with television sets are Transmigracion I-III from 1958 and Elektronischer De- coll/age Happening Raum [3], (E.D.H.R), ("Electronic De-coll/age Happening Room"), an Installation, from 1968.Berlinische Galerie [3]Installation

8. Wolf Vostell 9 No – Dé-coll/ages 1963 - 67 Film/video performance Vostell's large-scale happening 9 Nein Décollagen (9 No – Dé-coll/ages) took place on 14 September 1963 in nine different locations in Wuppertal, and was organized by the Galerie Parnass. The audience was ferried by bus from location to location, including a cinema that screened Sun in Your Head while people lay on the floor. The film transfers to the moving image Vostell’s principle of ‘Décollage’. While up to then Vostell had altered TV pictures as they were being broadcast, he was now able to compose the temporal sequence. Since no video equipment was available in 1963, Vostell instructed camera-man Edo Jansen to film distorted TV images off the TV screen. The film was re-edited and copied to video in 1967.

9. Nam June Paik Magnet TV 1965 Magnet with TV and broadcast program

10. Nam June Paik TV Buddha 1974 closed circuit video installation with bronze sculpture

11. Nam June Paik Video Flag 1984-96 video installation

12. Nam June Paik Electronic Superhighway 1995 video installation

13. Nam June Paik video still from Global Groove 1973 color videotape, sound 30 minutes

14. Dan Sandin Sandin Analogue Image Processor 1971-1973 Analog computer video synthesizer EVL http://www.youtube.com/watch?v=8qh6 jRzjmcY&feature=relatedhttp://www.youtube.com/watch?v=8qh6 jRzjmcY&feature=related (1973) http://www.youtube.com/evltubehttp://www.youtube.com/evltube (2011) Moog Synthesizer (Demo): http://www.youtube.com/watch?v=pLQ y4jQmrek&feature=topics Moog History http://www.youtube.com/watch?v=usl_ TvIFtG0

15. Joan Jonas Vertical Roll 1972 video "In a startling collusion of form and content, Jonas constructs a theater of female identity by deconstructing representations of the female body and the technology of video. Using an interrupted electronic signal -- or "vertical roll" -- as a dynamic formal device, she dislocates space, re-framing and fracturing the image."

16. Chris Burden Late Night Advertisements (Through the Night Softly) Early 70s Video on Broadcast Television

17. Bruce Nauman Live-Taped Video Corridor 1970 video installation

18. Dan Graham Time Delay Room 1974 video camera, video taper, video monitors, mirror The time-lag of eight seconds is the outer limit of the neurophysiological short-term memory that forms an immediate part of our present perception and affects this «from within». If you see your behavior eight seconds ago presented on a video monitor «from outside» you will probably therefore not recognize the distance in time but tend to identify your current perception and current behavior with the state eight seconds earlier. Since this leads to inconsistent impressions which you then respond to, you get caught up in a feedback loop. You feel trapped in a state of observation, in which your self- observation is subject to some outside visible control. In this manner, you as the viewer experience yourself as part of a social group of observed observers [instead of, as in the traditional view of art, standing arrested in individual contemplation before an auratic object].

19. 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.

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

21. Peter Campus Three Transitions 1973 video

22. Dara Birnbaum Technology/Transformation: Wonder Woman 1978 video

23. Gary Hill Wall Piece (2000) http://www.sfmoma.org/explore/mul timedia/videos/223 http://www.sfmoma.org/explore/mul timedia/videos/223 Crux (1983 – 87) http://www.mediaartnet.org/works/c rux/ http://www.mediaartnet.org/works/c rux/ Postings on Crux: http://nonsenselab.tumblr.com/post/ 9960254331/gary-hill-crux-1983- 1987-video-installation http://nonsenselab.tumblr.com/post/ 9960254331/gary-hill-crux-1983- 1987-video-installation Clip with artist voice over on “Crux” like piece: http://www.madisonartshop.com/lib/ madisonartshop/33230.wmv http://www.madisonartshop.com/lib/ madisonartshop/33230.wmv SFMOMA compilation: http://www.sfmoma.org/explore/mul timedia/interactive_features/11# http://www.sfmoma.org/explore/mul timedia/interactive_features/11#

24. Adrian Piper Cornered 1988 video monitor, table, birth certificates

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

26. 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)

27. Bill Viola Nantes Triptych 1992 video installation

28. 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 )

29. 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)

30. Tony Oursler Projected Video Projects http://www.youtube.com/watch?v=BMZHMVRXsbE&feature=related

31. Sadie Benning http://www.tumblr.com/tagged/sadie- benning?before=1318122200 http://www.haussite.net/haus.0/SCR IPT/txt2001/01/russel.HTML

32. Shirin Neshat Still Photos, Video, and Interview http://heyokamagazine.com/HEYOK A.4.FOTOS.ShirinNeshat.htm Video excerpt from Zarim: http://www.youtube.com/watch?v=1 wNz9jK82U0 http://www.youtube.com/watch?v=1 wNz9jK82U0 Interview on Charlie Rose (fast forward to 2nd interview) http://www.youtube.com/watch?v=E m1pwqlvMCs (August 25, 2007) http://www.youtube.com/watch?v=E m1pwqlvMCs

33. Christian Marclay Video Quartet 2002 Video installation

34. Xavier Cha Video installation from Body mounted cameras (2011) http://whitney.org/Exhibitions/XavierCha http://www.youtube.com/watch?v=x1T05S9dKVw

35. Kade Twist For You Shall Pass Through the Water of Another 2010 3 Channel Video installation