VIDEO ART 260 Introduction to Video Art, Projection & Virtual Worlds In

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VIDEO ART 260 Introduction to Video Art, Projection & Virtual Worlds in Art Taught by Professor David Kelley Watt 6, 4units [Prerequisites: None] This class will explore video as contemporary art. Students will create their own video projects from idea to exhibition – starting with idea conceptualization and planning, shooting with HD and 4K video cameras, using digital editing software like Adobe Premiere Pro and Adobe After Effects, utilizing basic lighting and sound techniques, and finishing with exhibition and installation of artworks and class critiques. We will look at different forms of video art from conceptual and performative practices of the 1960s and 70s, to notions of time and memory, to identity, social media, and post internet art. We will work with space with video installation and manipulation with digital techniques such as video glitching. There will be readings, lectures, screenings, technical and creative workshops, field trips to museums or galleries to help understand the history of the moving image and the impact of a critical engagement with these images in our everyday lives. We will look at the work of contemporary artists including Nam June Paik, Bruce Nauman, Nancy Holt, Mike Rottenberg, Joan Jonas, Peter Campus, Michelle Dizon, Pierre Huyghe, Issac Julien, Hito Stereyl, Peggy Ahwesh, Sondra Perry, Pippilotti Ryst, Chris Burden, Camille Henrot, Kate Gilmore, and Omer Fast. Links about David Kelley: https://roski.usc.edu/community/faculty/david-kelley http://www.davidkelley.edu/ *This course counts toward Intermedia Arts Minor and Communications Design Minor. .

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The Artist's Voice Since 1981 Bombsite
THE ARTIST’S VOICE SINCE 1981 BOMBSITE Peter Campus by John Hanhardt BOMB 68/Summer 1999, ART Peter Campus. Shadow Projection, 1974, video installation. Courtesy Paula Cooper Gallery. My visit with Peter Campus was partially motivated by my desire to see his new work, a set of videotapes entitled Video Ergo Sum that includes Dreams, Steps and Karneval und Jude. These new works proved to be an extraordinary extension of Peter’s earlier engagement with video and marked his renewed commitment to the medium. Along with Vito Acconci, Dara Birnbaum, Gary Hill, Joan Jonas, Bruce Nauman, Nam June Paik, Steina and Woody Vasulka, and Bill Viola, Peter is one of the central artists in the history of the transformation of video into an art form. He holds a distinctive place in contemporary American art through a body of work distinguished by its articulation of a sophisticated poetics of image making dialectically linked to an incisive and subtle exploration of the properties of different media—videotape, video installations, photography, photographic slide installations and digital photography. The video installations and videotapes he created between 1971 and 1978 considered the fashioning of the self through the artist’s and spectator’s relationship to image making. Campus’s investigations into the apparatus of the video system and the relationship of the 1 of 16 camera to the space it occupied were elaborated in a series of installations. In mem [1975], the artist turned the camera onto the body of the specator and then projected the resulting image at an angle onto the gallery wall.
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The Role of Art in Enterprise
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A One Day Exhibition
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Sondra Perry B
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Before Projection: Video Sculpture 1974–1995 Contents
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Ice and Fire: a Benefit Exhibition in Three Parts October 15, 2020–January 2021
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Press Release
Positions I Bruce and Norman Yonemoto (in collaboration with Mike Kelley) Kappa (1986) 7 – 11 July 2015 Evening Screening and & Drinks Reception, Thursday 9 July, 6-8pm For the first week of Positions—a series of five week-long, single channel video installations running through July and August 2015—Hales Gallery is delighted to present Bruce and Norman Yonemoto’s 1986 film Kappa, made in collaboration with artist Mike Kelley. Bruce and Norman Yonemoto are known for their pioneering body of work deconstructing and exploring mythologies created within mass media culture, as well as for their independent video and installation work produced in more recent years. Beginning in 1976, the artists would appropriate the styles of popular media forms (soap operas, Hollywood melodramas and television advertising) to create ironic, stylised fictions exposing the media’s manipulation of reality, fantasy and identity. Underlying their critique of culture is the brothers’ Japanese-American heritage and their upbringing in California’s Silicon Valley, as well as their proximity to Hollywood and the entertainment industry. The film Kappa combines the Greek myth of Oedipus with the figure of the ‘Kappa’ from Japanese folklore to explore the presence and relative positions of Eastern and Western mythologies in everyday life. The Kappa (a freshwater deity or sprite known for its sexual and violent behaviours, played by Mike Kelley) encounters an Oedipal scene reframed in a contemporary south-Californian setting, watching and commenting as Jocasta (Oedipus’s mother, played by famous Warhol Factory member and B-movie actress Mary Woronov) and Eddie (a pun on ‘Oedipus’, played by Eddie Ruscha, son of artist Ed Ruscha) consummate their dangerous desire.
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5 Old-School NYC Video Artists You Should Know (And Follow)
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Introduction to Video Art by Lea Collet Advancehe Fellow, Slade School of Fine Art Art That Involves the Use of Video and /Or Au
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