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6 books about Video art
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6 books about Video art
Against Immediacy
Video Art and Media Populism
William Kaizen
Dartmouth College Press, 2016
Against Immediacy is a history of early video art considered in relation to television in the United States during the 1960s and 1970s. It examines how artists questioned the ways in which “the people” were ideologically figured by the commercial mass media. During this time, artists and organizations including Nam June Paik, Juan Downey, and the Women’s Video News Service challenged the existing limits of the one-to-many model of televisual broadcasting while simultaneously constructing more democratic, bottom-up models in which the people mediated themselves. Operating at the intersection between art history and media studies, Against Immediacy connects early video art and the rise of the media screen in gallery-based art to discussions about participation and the activation of the spectator in art and electronic media, moving from video art as an early form of democratic media practice to its canonization as a form of high art.
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Encounters in Video Art in Latin America
Elena Shtromberg
J. Paul Getty Trust, The, 2023
With insightful essays and interviews, this volume examines how artists have experimented with the medium of video across different regions of Latin America since the 1960s.
The emergence of video art in Latin America is marked by multiple points of development, across more than a dozen artistic centers, over a period of more than twenty-five years. When it was first introduced during the 1960s, video was seen as empowering: the portability of early equipment and the possibility of instant playback allowed artists to challenge and at times subvert the mainstream media. Video art in Latin America was—and still is—closely related to the desire for social change. Themes related to gender, ethnic, and racial identity as well as the consequences of social inequality and ecological disasters have been fundamental to many artists’ practices.
This compendium explores the history and current state of artistic experimentation with video throughout Latin America. Departing from the relatively small body of existing scholarship in English, much of which focuses on individual countries, this volume approaches the topic thematically, positioning video artworks from different periods and regions throughout Latin America in dialogue with each other. Organized in four broad sections—Encounters, Networks and Archives, Memory and Crisis, and Indigenous Perspectives—the book’s essays and interviews encourage readers to examine the medium of video across varied chronologies and geographies.
The emergence of video art in Latin America is marked by multiple points of development, across more than a dozen artistic centers, over a period of more than twenty-five years. When it was first introduced during the 1960s, video was seen as empowering: the portability of early equipment and the possibility of instant playback allowed artists to challenge and at times subvert the mainstream media. Video art in Latin America was—and still is—closely related to the desire for social change. Themes related to gender, ethnic, and racial identity as well as the consequences of social inequality and ecological disasters have been fundamental to many artists’ practices.
This compendium explores the history and current state of artistic experimentation with video throughout Latin America. Departing from the relatively small body of existing scholarship in English, much of which focuses on individual countries, this volume approaches the topic thematically, positioning video artworks from different periods and regions throughout Latin America in dialogue with each other. Organized in four broad sections—Encounters, Networks and Archives, Memory and Crisis, and Indigenous Perspectives—the book’s essays and interviews encourage readers to examine the medium of video across varied chronologies and geographies.
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Feedback
The Video Data Bank Catalog of Video Art and Artist Interviews
Kate Horsfield
Temple University Press, 2006
Founded in 1976 at the inception of the media arts movement, the Video Data Bank is the leading resource in the United States for videotapes by and about contemporary artists. The collections include seminal works that, seen as a whole, describe the development of video as an art form originating in the late 1960s and continuing to the present.The first printed catalog of the Video Data Bank's complete holdings, Feedback offers readers essays on the history of media arts, the Video Data Bank, video activism, experimental performance art, and the On Art and Artists Collection. It includes 325 frame grabs and stills from some of the collection's most important pieces and outlines the styles and directions taken by artists throughout the entire history of video art. An indispensable guide and reference for artists, students, teachers, and collectors, Feedback is an essential book for any film and video bookshelf.
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Inherent Vice
Bootleg Histories of Videotape and Copyright
Lucas Hilderbrand
Duke University Press, 2009
In an age of digital technology and renewed anxiety about media piracy, Inherent Vice revisits the recent analog past with an eye-opening exploration of the aesthetic and legal innovations of home video. Analog videotape was introduced to consumers as a blank format, essentially as a bootleg technology, for recording television without permission. The studios initially resisted VCRs and began legal action to oppose their marketing. In turn, U.S. courts controversially reinterpreted copyright law to protect users’ right to record, while content owners eventually developed ways to exploit the video market. Lucas Hilderbrand shows how videotape and fair use offer essential lessons relevant to contemporary progressive media policy.
Videotape not only radically changed how audiences accessed the content they wanted and loved but also altered how they watched it. Hilderbrand develops an aesthetic theory of analog video, an “aesthetics of access” most boldly embodied by bootleg videos. He contends that the medium specificity of videotape becomes most apparent through repeated duplication, wear, and technical failure; video’s visible and audible degeneration signals its uses for legal transgressions and illicit pleasures. Bringing formal and cultural analysis into dialogue with industrial history and case law, Hilderbrand examines four decades of often overlooked histories of video recording, including the first network news archive, the underground circulation of Superstar: The Karen Carpenter Story, a feminist tape-sharing network, and the phenomenally popular website YouTube. This book reveals the creative uses of videotape that have made essential content more accessible and expanded our understanding of copyright law. It is a politically provocative, unabashedly nostalgic ode to analog.
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Resolutions 3
Global Networks of Video
Ming-Yuen S. Ma
University of Minnesota Press, 2012
Resolutions 3 explores the wide-ranging implications of video art and video-based production in contemporary media culture. It is the third volume in a series composed of Resolution: A Critique of Video Art (1986) and Resolutions: Contemporary Video Practices (1996). While Resolution was one of the first critical texts on video art in the United States, Resolutions was one of the first books to address video as a medium across disciplines from theoretical, activist, and transnational perspectives.
Resolutions 3 articulates this legacy as a challenge to reengage with the explosive viral reach of moving image–based content and its infiltration into and impact on culture and everyday life. The contributors to this work analyze what is now a fourth decade of video practices as marked within and outside the margins of art production, networked interventions, projected spectacle, museum entombment, or 24/7 streaming. Intending to broaden, contest, and amplify the mediated space that was defined by its two predecessors, this volume investigates the ever-changing state of video’s deployment as examiner, tool, journal reportage, improvisation, witness, riff, leverage, and document.
Contributors: Kathleen Ash-Milby, Smithsonian National Museum of the American Indian; Myriam-Odile Blin, Rouen U, France; Nancy Buchanan, California Institute of the Arts; Derek A. Burrill, U of California, Riverside; Sean Cubitt, U of Melbourne; Faisal Devji, New York U; Jennifer Doyle, U of California, Riverside; Jennifer Friedlander, Pomona College; Kathy High, Rensselaer Polytechnic Institute; Lucas Hilderbrand, U of California, Irvine; Nguyen Tan Hoang, Bryn Mawr College; Kathy Rae Huffman; Amelia Jones, McGill U; David Joselit, Yale U; Alexandra Juhasz, Pitzer College; Jessica Lawless, Santa Fe Community College; Hea Jeong Lee; Jesse Lerner, Pitzer College; Akira Mizuta Lippit, U of Southern California; Lionel Manga; Laurence A. Rickels, U of California, Santa Barbara; Kenneth Rogers, U of California, Riverside; Michael Rush, Eli and Edythe Broad Art Museum, Michigan State U; Freya Schiwy, U of California, Riverside; Beverly R. Singer, U of New Mexico; Yvonne Spielmann, U of the West of Scotland; Catherine Taft, Getty Research Institute; Holly Willis, U of Southern California.
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Touch
Sensuous Theory And Multisensory Media
Laura U. Marks
University of Minnesota Press, 2002
Proposes a revolutionary approach to the interpretation of art, film, and the digital.
In Touch, Laura U. Marks develops a critical approach more tactile than visual, an intensely physical and sensuous engagement with works of media art that enriches our understanding and experience of these works and of art itself.
These critical, theoretical, and personal essays serve as a guide to developments in nonmainstream media art during the past ten years-sexual representation debates, documentary ethics, the shift from analog to digital media, a new social obsession with smell. Marks takes up well-known artists like experimental filmmaker Ken Jacobs and mysterious animators the Brothers Quay, and introduces groundbreaking, lesser-known film, video, and digital artists.
From this emerges a materialist theory-an embodied, erotic relationship to art and to the world. Marks's approach leads to an appreciation of the works' mortal bodies: film's volatile emulsion, video's fragile magnetic base, crash-prone Net art; it also offers a productive alternative to the popular understanding of digital media as "virtual" and immaterial. Weaving a continuous fabric from philosophy, fiction, science, dreams, and intimate experience, Touch opens a new world of art media to readers.
Laura U. Marks, associate professor of film studies at Carleton University, Ottawa, is a critic and curator of artists' independent media. She is the author of The Skin of the Film (2000).
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