Coming and Reading Into Vito Acconci's 'The Red
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Video Installation in Public Space
Center for Open Access in Science ▪ https://www.centerprode.com/ojsa.html Open Journal for Studies in Arts, 2018, 1(1), 29-42. ISSN (Online) 2620-0635 ▪ https://doi.org/10.32591/coas.ojsa.0101.03029d _________________________________________________________________________ Video Installation in Public Space Lili Atila Dzhagarova South-West University “Neofit Rilski”, Blagoevgrad Theater and Cinema Art Received 31 May 2018 ▪ Revised 27 June 2018 ▪ Accepted 29 July 2018 Abstract The present study is dedicated to the research of video installations placed in the public space, such as exhibition halls, streets and theatrical spaces. The theme “Video installations in the public space” is the understanding of the essence of video and space and its aspects through the production of various spatial solutions and practical imaging solutions in the field of video art. The subject of the study is essence of the problem. In the case of this study the object is the video installations, and the subject is the process of their creation, and the concept of environment. The whole range of phenomena studied is related to the works of video art, their development and expression of opportunities and the idea of environment is an aspect of exploring the space in which they are presented. Keywords: installations, video, public space, phenomenon, movement. 1. Introduction When we think of artists, we think of paint on canvas, or clay masterpieces, or beautiful, timeless drawings, but what do you think when you hear digital artists? The acceptance of digital art into the mainstream art community is a controversy that is slowly becoming history. The controversy is essentially what many people believe in that art is created by the computer, and not by the artist. -
Toward Guidelines for Practice in the Preservation and Documentation of Technology-Based Installation Art
Fall/Winter 2001 11/27/01 4:02 PM Page 207 TOWARD GUIDELINES FOR PRACTICE IN THE PRESERVATION AND DOCUMENTATION OF TECHNOLOGY-BASED INSTALLATION ART WILLIAM A. REAL ABSTRACT—Unlike most works of art familiar to de praticiens ont de l’expérience pour s’occuper de la conservators,installation art is often less object than préservation des composants physiques éphémères de event, existing initially only for the duration of an beaucoup des installations basées sur les nouveaux exhibition. Nonetheless, institutions and individuals médias, tels que médias électroniques et appareils de acquire works of installation art for their collections, lecture, sans lesquels il n’y a aucun espoir de recréer fully expecting to preserve them into the foreseeable ces oeuvres dans l’avenir. Dans cet article, on décrit future. While there are conventions within the con- les défis inhérents à la préservation de cette forme servation field for examining, describing, and pre- d’art,on détaille l’état actuel des pratiques de conser- serving works of art that exist as objects,there are few vation pour ces oeuvres et on suggère des directives such conventions for works of art such as installations et des normes générales de travail. Cet article est un that exist for a limited time, are dismantled,and may résultat de “TechArchéologie: un colloque sur la be re-created at some indeterminate future time and préservation des installations”commandité par le Bay location.The conservation field has little experience Area Video Coalition (Coalition vidéo de la région de in dealing with the preservation of the ephemeral la baie de San Francisco),qui a eu lieu au musée d’art p hysical components of many technolog y - b a s e d contemporain de San Francisco et a été subvention- installations, such as electronic media and playback né par le Getty Grant Program (programme de bours- equipment, without which there is no hope of re- es Getty). -
House of Impressions Classic and Contemporary Media Art
HOUSE OF IMPRESSIONS CLASSIC AND CONTEMPORARY MEDIA ART IN THE FRAMEWORK OF THE SUMMER PROGRAM OF THE PUSHKIN MUSEUM QUARTER AND MY.COM CHANTAL AKERMAN (BELGIUM / FRANCE), important ones. Moreover, in the 21st century a museum does TATIANA AKHMETGALIEVA (RUSSIA), MONA not need to be absolutely quiet — our sight, hearing and move- HATOUM (USA), MARIANNE HESKE (NORWAY), ment through the museum display are the means of our percep- NAN HOOVER (NL), YURI KALENDAREV tion; from the retina of the eye to a tactile sensation — such is (ITALY / RUSSIA), DINA KARAMAN (RUSSIA), the process of immersion in the image. ELENA KOPTYAEVA (RUSSIA), IVAN LUNGIN m The future of Golitsyn Manor is now linked with the Pushkin (RUSSIA), MEREL MIRAGE (NL), IRINA Museum. Reconstruction of the Manor will commence in a few NAKHOVA (RUSSIA), BRUCE NAUMAN months’ time, and upon its completion, the site will operate as a (USA), MARNIX DE NIJS (NL), ADRIAN PACI Museum of Impressionism, which will include a significant portion (ALBANIA / ITALY), KSENIA PERETRUKHINA of the Pushkin Museum’s collection. (RUSSIA), MARIANO SARDÓN (ARGENTINA), m The exhibition ‘House of impressions — classic and contem- CHRISTA SOMMERER & LAURENT porary media art’ is the first museum project to be held within MIGNONNEAU (AUSTRIA), STEINA AND these walls. It has been organized by the Pushkin Museum’s new WOODY VASULKA (USA), BILL VIOLA (USA) Department of Film and Media Arts to study the development of a new visual language — of new classics, being born before our m The exhibition ‘House of impressions — clas- eyes. sic and contemporary media art’ at Golitsyn m Despite the fact that the word ‘impression’, has a clear link to Manor is a collection of nineteen works by the same French word and the experiences of the Impressionist outstanding 20th and 21st century video and painters, a direct dialogue with them is not the main goal of this media artists. -
Nam June Paik Essay
Nam June Paik Essay By John Hanhardt, Guggenheim Museum The Worlds of Nam June Paik is an appreciation of and reflection on the life and art of Nam June Paik. Paik's journey as an artist has been truly global, and his impact on the art of video and television has been profound.To foreground the creative process that is distinctive to Paik's artwork, it is necessary to sort through his mercurial movements, from Asia through Europe to the United States, and examine his shifting interests and the ways that individual artworks changed accordingly. It is my argument that Paik's prolific and complex career can be read as a process grounded in his early interests in composition and performance. These would strongly shape his ideas for mediabased art at a time when the electronic moving image and media technologies were increasingly present in our daily lives. In turn, Paik's work would have a profound and sustained impact on the media culture of the late twentieth century; his remarkable career witnessed and influenced the redefinition of broadcast television and transformation of video into an artist's medium. In 1982, my longtime fascination with Paik's work resulted in a retrospective exhibition that I organized for the Whitney Museum of American Art in NewYork.1 Over the ensuing years, his success and renown have grown steadily.The wide presence of the media arts in contemporary culture is in no small measure due to the power of Paik's art and ideas.Through television projects, installations, performances, collaborations, development of new artists' tools, writing, and teaching, he has contributed to the creation of a media culture that has expanded the definitions and languages of art making. -
Nam June Paik Teachers' Pack
An exhibition at two venues Tate Liverpool and FACT Nam June Paik 17 DeDecembercember 2010 --- 13 March 2011 Educators’Pack Nam June Paik, Uncle, 1986 © Estate of Nam June Paik, Photo by Cal Kowal [] 1 Introduction to the exhibition and aims of this pack • Nam June Paik is generally acknowledged as a pioneer of video and media art and one of the most innovative artists of the 20 th century. • The collaboration between Tate Liverpool and FACT, the Foundation for Art and Creative Technology is the first exhibition of Paik’s work in the UK since 1988. This exciting exhibition showcases works from all phases of his career, alongside a rich selection of documentary materials from the artist’s early works and performances. Unusually, the exhibition is shown across two venues: the larger part of the exhibition is on display at Tate Liverpool with the later works at FACT, a ten minute walk away. Visiting both parts of the exhibition is recommended in order that students can gain best understanding of the artist and his work. This pack provides the art historical context for the exhibition, examining Paik’s role as a pioneer of video art and tracing his career from experimental musician, via Fluxus actions and performance to the manipulated televisions, robots and videos that became the basis of his practice. It focuses on key works from the exhibition at Tate Liverpool and FACT, such as Zen for Film 1962-64 and the groundbreaking satellite video, Good Morning Mr Orwell 1984 The pack is designed to support educators in the planning, execution and following up to a visit to both sites. -
Video Preservation Barbara London, the Museum of Modern Art Since
Video Preservation Barbara London, The Museum of Modern Art Since its founding in 1929, The Museum of Modem Art has dedicated itself to the exhibition, collection, and preservation of the "art of our time."The Museum first recognized video as an art form with the 1968 exhibition "The Machine as Seen at the End of the Mechanical Age." This was only three years after manufacturers introduced the first consumer video camera. which gave artists access to the medium. This was the exhilarating, formative years of video art. Technical factors made it challenging for museums to exhibit video. Nothing was automatic. Reel-to-reel tape decks required that someone be on hand to thread up, start, and rewind each tape. For the "Machine" show Nam June Paik tumed his Lindsay Tape (1967) into a video installation by jerry-rigging an endless loop device. He set two open-reel, half-inch playback decks ten feet apart on the gallery floor. He ran the spliced-together, original videotape between them. Paik's Lindsav Tape wore out after one week. Scholars presumed this classic work was lost forever, until a grainy kinescope version tumed up in a German archive two years ago. The kinescope can only suggest what this spirited. early work was like The Museum again featured video in the 1970 "Information" show. Along with Xerox and "mail art," videotapes by artists from North and South America and Europe were shown. Many of these titles have subsequently been lost or destroyed due to neglect, dust, or the extreme humidity of Brazil. The "Information"catalogue serves as the primary record of this early video work. -
Screen Space Reconfigured Mediamatters
media matters Screen Space Reconfigured edited by Amsterdam susanne ø. sæther University Press synne t. bull Screen Space Reconfigured MediaMatters MediaMatters is an international book series published by Amsterdam University Press on current debates about media technology and its extended practices (cultural, social, political, spatial, aesthetic, artistic). The series focuses on critical analysis and theory, exploring the entanglements of materiality and performativity in ‘old’ and ‘new’ media and seeks contributions that engage with today’s (digital) media culture. For more information about the series see: www.aup.nl Screen Space Reconfigured Edited by Susanne Ø. Sæther and Synne T. Bull Amsterdam University Press This project has received funding from the University of Oslo’s publishing fund, the Depart- ment of Media and Communication, and the Department of Philosophy, Classics, History of Art and Ideas at the University of Oslo. Cover illustration: Bull.Miletic, Venetie 11111100001 (1500-2017), video still. Image courtesy of the artists and Anglim Gilbert Gallery. Cover design: Suzan Beijer Lay-out: Crius Group, Hulshout isbn 978 90 8964 992 8 e-isbn 978 90 4852 905 6 doi 10.5117/9789089649928 nur 670 Creative Commons License CC BY NC ND (http://creativecommons.org/licenses/by-nc-nd/3.0) All authors / Amsterdam University Press B.V., Amsterdam 2020 Some rights reserved. Without limiting the rights under copyright reserved above, any part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise). Every effort has been made to obtain permission to use all copyrighted illustrations reproduced in this book. -
Bill Viola : Installations and Videotapes Essays by Barbara London, J
Bill Viola : installations and videotapes Essays by Barbara London, J. Hoberman, Donald Kuspit, selected writings by Bill Viola, edited by Barbara London Author Viola, Bill, 1951- Date 1987 Publisher The Museum of Modern Art ISBN 0870706241 Exhibition URL www.moma.org/calendar/exhibitions/2162 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art BILL VIOLA The Museum of Modern Art, New York Bill Viola INSTALLATIONS AND VIDEOTAPES Published on the occasion of the exhibition Bill Viola October 16, 1987-January 3, 1988 organized by Barbara London, Assistant Curator, Video Department of Film The Museum of Modern Art, New York Copyright © 1987 The Museum of Modern Art, New York All rights reserved Library of Congress Catalogue Card Number 87-61945 ISBN 0-87070-624-1 Edited by Susan Weiley Designed by Emsworth Studios Production by Susan Schoenfeld Printed by Eastern Press, New Haven, Connecticut Bound by Sendor Bindery, Inc., New York, New York The Museum of Modern Art 11 West 53 Street New York, New York 10019 Printed in the United States of America Cover: Reasons for Knocking at an Empty House. 1982. Video/sound installation, La Chartreuse, Villeneuve-les-Avignon, France. 1986. Frontispiece: Bill Viola on location for Room for St. John of the Cross , Sierra Nevada Mountains, California. 1983. Bill Viola INSTALLATIONS AND VIDEOTAPES Essays by BARBARA LONDON J. HOBERMAN DONALD KUSPIT Selected Writings by BILL VIOLA Edited by BARBARA LONDON The Museum of Modern Art, New York Contents Acknowledgments 7 Bill Viola: The Poetics of Light and Time 9 by Barbara London Selected Works and Writings 23 by Bill Viola The Reflecting Pool: Bill Viola and the Visionary Company by J. -
Visual Surveillance. Transmedial Migrations of a Scopic Form
ACTA UNIV . S APIENTIAE , F ILM AND MEDIA STUDIES , 2 (2010) 145–159 Visual Surveillance. Transmedial Migrations of a Scopic Form Antonio Somaini University of Genova (Italy) E-mail: [email protected] Abstract. Analyzing a series of works realized in the media of performance and photography (Vito Acconci, Sophie Calle), video installation (Michael Snow, Bruce Nauman, Dan Graham) and found footage cinema (Michael Klier, Eyal Sivan, Harun Farocki) we will observe how the act of visual surveillance can be enacted or detected in different media while maintaining its defining characteristic: the disciplining power of an asymmetric gaze which is more and more present across the social space, thanks to the proliferation of video cameras, and which since the late 1960s has been explored by different generations of artists in all its political, psychological and aesthetic dimensions. The result will be a reflection on one of the possible ways of understanding the phenomenon of intermediality : in this case, intermediality as the transmedial migrations of a scopic form, of a way of seeing. Theatricality and Surveillance In an article published in 1967 in the magazine Artforum with the title Art and Objecthood (Fried 1967), the American art critic Michael Fried, together with Clement Greenberg, the most influential representative of the ‘modernist’ trend of American art criticism in the 1960s, described the then current art scene as characterized by the confrontation between two opposite poles, the “pictorial” and the “theatrical.” On the -
Video Installation Art: the Bodv. the Image, and the Space-In-Between
Video Installation Art: The BodV. the Image, and the Space-in-Between MARGARET MORSE But our argument indicates tIlat [Iearningl is a ca pacity which is innate in each man's mind, and dlat the organ by which he learns is like an eye which cannot be turned from darkness to light unless the whole body is IIImed. Plato, "The Simile of tile Cave" Introduction The following hypotheses on video instal1ation art are speculative answers to fundamental questions thar someone rather new to video inStallation as an art form would ask. The answers posed here were based on recent research and in terviews with artiSts and were conceptualized with the cools of cinema and television theory rarher than with those of the discourse of arc history. The ba sic questions- -Whar is a video installation) What are its means of expression) How do these differ from the media per se and from Other arts! What kinds of installations are there) Whar effeces on a visitor does the an form promore? What Cultural function does or could this art form serve)- -are questions r would never have cared enough to ask had I never experienced a video insralla tion. Such an experience, for instance of Bruce Nauman's (19 Video Con-idor 68 70)' can be stunning. To me ir was as if I my body had Come unglued from my Own image, as if the ground of my orientation in space were pul1ed oue from under me. Some installations jam habitual modes of sensorimotor experi ence, others operate at a more contemplative leve!, depending on the passage of images or conceptual fields through various dimensions, rather than on the passage of the body of a visicor through the installation. -
Video Spaces : Eight Installations by Barbara London
Video spaces : eight installations By Barbara London Author London, Barbara J., 1946- Date 1995 Publisher The Museum of Modern Art: Distributed by H.N. Abrams ISBN 0870706462, 0810961466 Exhibition URL www.moma.org/calendar/exhibitions/462 The Museum of Modern Art's exhibition history—from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art *» Video m Spaces: Eight Installations < i i III *.V—4 & '* . The Museum of Modern Art i *' Video Spaces The Museum of Modern Art Distributed by Harry N. Abrams, Inc., New York 1 Video Spaces: Eight Installations by Barbara London Published on the occasion of the exhibition Video Spaces: Eight Installations, organized by Barbara London, Associate Curator, Department of Film and Video, The Museum of Modern Art, New York, June 22-September 12, 1995. This exhibition is supported in part by grants from The Japan Foundation, individual members of The Contemporary Arts Council of The Museum of Modern Art, and the Canadian Consulate General, New York. Transportation assistance has been provided in part by Japan Airlines. Copyright © 1995 by The Museumof Modern Art, New York Certain illustrations are covered by claims to copyright cited in the Photograph Credits. All rights reserved. Library of CongressCatalogue Card Number 94-073386 ISBN0-87070-646-2 (MoMA/T&H) ISBN0-8109-6146-6 (Abrams) Produced by the Department of Publications The Museum of ModernArt, New York Osa Brown, Director of Publications Edited by Alexandra Bonfante-Warrenand Barbara Ross Geiger Designed by Emsworth Design, NewYork Production by Marc Sapir Published by The Museumof ModernArt Printed by Meridian Printing, East Greenwich, 11 West 53 Street, New York, New York 10019 Rhode Island Bound by MuellerTrade Bindery, Middletown, Distributed in the United States and Canada Connecticut by Harry N. -
Shirin Neshat
Goodman Gallery Shirin Neshat Biography Shirin Neshat (b. 1957, Qazvin, Iran) is an Iranian-born artist and filmmaker living in New York. Neshat’s early photographic works include the Women of Allah series (1993–1997), which explored the question of gender in relation to Islamic fundamentalism and militancy. Her subsequent video works departed from overtly political content or critique in favor of more poetic imagery and narratives. In her practice, she employs poetic imagery to engage with themes of gender and society, the individual and the collective, and the dialectical relationship between past and present, through the lens of her experiences of belonging and exile. She has mounted numerous solo exhibitions at museums internationally, including: the Hirshhorn Museum and Sculpture Garden, Washington D.C.; Stedelijk Museum, Amsterdam; the Serpentine Gallery, London; Hamburger Bahnhof, Berlin; and the Musée d’art contemporain de Montréal. Recent solo exhibitions include: Kunstraum Dornbirn, Austria; Faurschou Foundation, Copenhagen; Kunsthalle Tübingen, Germany; and Museo Correr,Venice, Italy, which was an official corollary event to the 57th Biennale di Venezia in 2017. A major retrospective of her work was exhibited at the Detroit Institute of Arts in 2013. Neshat was awarded the Golden Lion Award, the First International Prize at the 48th Biennale di Venezia (1999), the Hiroshima Freedom Prize (2005), and the Dorothy and Lillian Gish Prize (2006). In 2009, Neshat directed her first feature-length film, Women Without Men, which received the Silver Lion Award for “Best Director” at the 66th Venice International Film Festival. Dreamers marked her first solo show on the African continent, which exhibited at Goodman Gallery Johannesburg in 2016.