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Video art is an art form which relies on using video technology as a visual and audio medium. Video art emerged during the late 1960s as new consumer video technology such as video tape recorders became available outside corporate broadcasting. Video art can take many forms: recordings that are broadcast; installations viewed in galleries or museums; works streamed online, distributed as video tapes, or DVDs; and performances which may incorporate one or more television sets, video monitors, and projections, displaying live or recorded images and sounds.
Anthony Schmalz Conrad was an American video artist, experimental filmmaker, musician, composer, sound artist, teacher, and writer. Active in a variety of media since the early 1960s, he was a pioneer of both drone music and structural film. As a musician, he was an important figure in the New York minimalist scene of the early 1960s, during which time he performed as part of the Theatre of Eternal Music. He became recognized as a filmmaker for his 1966 film The Flicker. He performed and collaborated with a wide range of artists over the course of his career.
The Kitchen is a non-profit, multi-disciplinary avant-garde performance and experimental art institution located at 512 West 19th Street, between Tenth and Eleventh Avenues in the Chelsea neighborhood of Manhattan, New York City. As the organization undergoes a multi-year renovation it is currently sited at a satellite loft space in the West Village located at 163B Bank Street, where exhibitions and performances are regularly held. It was founded in Greenwich Village in 1971 by Steina and Woody Vasulka, who were frustrated at the lack of an outlet for video art. The space takes its name from the original location, the kitchen of the Mercer Arts Center which was the only available place for the artists to screen their video pieces. Although first intended as a location for the exhibition of video art, The Kitchen soon expanded its mission to include other forms of art and performance. In 1974, The Kitchen relocated to a building at the corner of Wooster and Broome Streets in SoHo, and incorporated as a not-for-profit arts organization. In 1987 it moved to its current location.
Video installation is a contemporary art form that combines video technology with installation art, making use of all aspects of the surrounding environment to affect the audience. Tracing its origins to the birth of video art in the 1970s, it has increased in popularity as digital video production technology has become more readily accessible. Today, video installation is ubiquitous and visible in a range of environments—from galleries and museums to an expanded field that includes site-specific work in urban or industrial landscapes. Popular formats include monitor work, projection, and performance. The only requirements are electricity and darkness.
The Sandin Image Processor is a video synthesizer, usually introduced as invented by Dan Sandin and designed between 1971 and 1974. Some called it the "video equivalent of a Moog audio synthesizer." It accepted basic video signals and mixed and modified them in a fashion similar to what a Moog synthesizer did with audio. An analog, Modular Synthesizer, real time, video processing instrument, it provided video processing performance and produced subtle and delicate video effects of a complexity not seen again until well into the digital video revolution.
A video synthesizer is a device that electronically creates a video signal. A video synthesizer is able to generate a variety of visual material without camera input through the use of internal video pattern generators. It can also accept and "clean up and enhance" or "distort" live television camera imagery. The synthesizer creates a wide range of imagery through purely electronic manipulations. This imagery is visible within the output video signal when this signal is displayed. The output video signal can be viewed on a wide range of conventional video equipment, such as TV monitors, theater video projectors, computer displays, etc.
Stephen Vitiello is an American visual and sound artist. Originally a punk guitarist he is influenced by video artist Nam June Paik who he worked with after meeting in 1991. He has collaborated with Pauline Oliveros, Robin Rimbaud and Frances-Marie Uitti; as well as visual artists Julie Mehretu, Tony Oursler and Joan Jonas.
Video feedback is the process that starts and continues when a video camera is pointed at its own playback video monitor. The loop delay from camera to display back to camera is at least one video frame time, due to the input and output scanning processes; it can be more if there is more processing in the loop.
Steina Vasulka and Woody Vasulka are early pioneers of video art, and have been producing work since the early 1960s. The couple met in the early 1960s and moved to New York City in 1965, where they began showing video art at the Whitney Museum and founded The Kitchen in 1971. Steina and Woody both became Guggenheim fellows: Steina in 1976, and Woody in 1979.
Bohuslav "Woody" Vasulka (born Bohuslav Vašulka was one of the early pioneer video artist known for his solo work and collaboration with Steina Vasulka, his wife. The VASULKAs, as they are sometimes called, were experimenting since early 1960s with images, video tapes, computer graphics and Digital Video Effecter, a technique that was important for television programmes.
Liz Phillips is an American artist specializing in sound art and interactive art. A pioneer in the development of interactive sound sculpture, Phillips' installations explore the possibilities of electronic sound in relation to living forms. Her work has been exhibited at a wide range of major museums, alternative spaces, festivals, and other venues, including the Whitney Museum of American Art, the San Francisco Museum of Modern Art, the Spoleto Festival USA, the Walker Art Center, Ars Electronica, Jacob's Pillow, The Kitchen, and Creative Time. Phillips' collaborations include pieces with Nam June Paik and the Merce Cunningham Dance Company, and her work has been presented by the Cleveland Orchestra, IBM, and the World Financial Center. She is often associated with, and exhibited alongside other early American sound artists Pauline Oliveros, John Cage and Max Neuhaus.
The Centre pour l'Image Contemporaine or CIC was a contemporary art exhibition centre in Geneva, Switzerland. CIC was established in 1985 to organize events and exhibitions of images using new technologies such as video, multimedia, and the Internet, as well as more traditional photography and film. It was also named Saint-Gervais Genève between 1985 and 2008 when including several departments: Electronic media, Exhibitions, Theatre. Its existence goes from 1985 to 2008.
The American Film Institute Award for Independent Film and Video Artists, subtitled and generally known as the Maya Deren Award, was an award presented to filmmakers and video artists by the American Film Institute to honor independent filmmaking. Named for the avant-garde experimental film artist Maya Deren, it was given from 1986 through 1996.
Xaviera Simmons is an American contemporary artist. She works in photography, performance, painting, video, sound art, sculpture, and installation. Between 2019 and 2020, Simmons was a visiting professor and lecturer at Harvard University. Simmons was a Harvard University Solomon Fellow from 2019-2020. Simmons has stated in her lectures and writings that she is a descendant of Black American enslaved persons, European colonizers and Indigenous persons through the institution of chattel slavery on both sides of her family's lineage.
Dimitri Devyatkin is an American director, producer, screenwriter, video artist, and journalist. Devyatkin uses elements of humor, art and new technology in his work. He is known as one of the first video makers to combine abstract synthesized imagery with camera footage. His programs have been broadcast domestically and internationally on ABC, PBS, Channel 4, WDR, France 3, TF1 and Channel One Russia. His works consist of digital media, computer art, broadcast news and feature filmmaking. His activities in the creation of new independent US filmmaking have been documented by Jonas Mekas in "Birth of a Nation" (1997).
Experimental Television Center is a 501(c)(3) nonprofit electronic and media art center.
The Video Noisefields (1974) by Steina and Woody Vasulka is an important example of early formal and technical experimentation with analog video. The video runs for twelve minutes and five seconds and materially visualizes the deflected energy of the electronic signal. The video switches between two sources throughout, which creates a flickering effect. The imagery is based on the deflection of electronic signals, and a colorizer is used to add color variation. In the video, a circular form materializes on the screen and presents a division between inner and outer. A pulsation between the two is sustained throughout.
Marco Maria Gazzano was an Italian film and media art theoretician and an exhibition curator.
Shalom Gorewitz is an American visual artist. Gorewitz was among the first generation of artists who used early video technology as an expressive medium. Since the late 1960s, he has created videos that "transform recorded reality through an expressionistic manipulation of images and sound". His artworks often "confront the political conflicts, personal losses, and spiritual rituals of contemporary life". Gorewitz has also made documentary videos.
The Women's Interart Center was a New York City–based multidisciplinary arts organization conceived as an artists' collective in 1969 and formally delineated in 1970 under the auspices of Women Artists in Revolution (WAR) and Feminists in the Arts. In 1971, it found a permanent home on Manhattan's far West Side. A trailblazing women's alternative space, the Center provided exhibition and performance venues, workshops, and training courses for artists in a wide range of media for over four decades, with a focus on developing women's skills, bringing their work to the public, and fostering innovation. Prominent visual artists exhibited at the Interart Gallery, which in 1976 mounted the first ever festival of black women's film. The Interart Theatre—the Center's off-off-Broadway stage—and its productions won numerous honors. The Center hosted the Women's Video Festival for several years and ran a video program responsible for a variety of notable works.
References
- 1 2 3 4 5 6 7 8 9 Keefe, Alexander. "Aleph Null: Shridhar Bapat's undergrounds". Bidoun.org. Retrieved 2021-03-24.
- 1 2 3 4 5 6 "A Small Iridescent Sphere: Alexander Keefe on Shridhar Bapat". The Kitchen.org. Retrieved 2021-03-24.
- 1 2 3 4 "Full Moon Afternoon with Bidoun". moma.org. Retrieved 2021-03-24.
- 1 2 Greenspun, Roger (1971-12-10). "Film: Videotape Program at Whitney". The New York Times. ISSN 0362-4331 . Retrieved 2021-04-01.
- ↑ "Electronic Arts Intermix: The Kitchen: An Image and Sound Laboratory: A Rap with Woody and Steina Vasulka, Shridhar Bapat and Dimitri Devyatkin". www.eai.org. Retrieved 2021-04-01.
- ↑ "A Chronology of Video Activity in the United States: 1965–1980". www.artforum.com. Retrieved 2021-03-31.
- 1 2 "Steina and Woody Vasulka fonds Series: The Kitchen". The Daniel Langlois Foundation. Retrieved 2021-03-24.
- ↑ "Digital Archive of the New York Women's Video Festivals – New Media Lab". newmedialab.cuny.edu. Retrieved 2021-04-01.
- ↑ Milano, Susan (1976). "Women's Video Festival - Introduction". www.experimentaltvcenter.org. Retrieved 2023-05-13.
- ↑ Tee Pee Video Space Troupe (1974-12-08), Tee Pee Video Space Troupe: Letter to Shirley, tape 2 , retrieved 2021-04-01