The Ubiquity of the Video Image: Artists’ Video as an International Phenomenon 248 Turbulent, Shirin Neshat, Iran, 1998 Wild Boy, Guy Ben-Ner, Israel, 2004 Shan Pipe Band Learns the Star Spangled Banner, Bani Abidi, Pakistan, 2004 30x30, Zhang Peili, China, 1998 Virus, Churchill Madikida, South Africa, 2005 The Gallery Opens its Doors: Video Installation and Projection 231 De La, Michael Snow, Canada, 1971 Il Nuotatore, Studio Azzurro, Italy, 1984 Television Circle, Judith Goddard, UK, 1987 The Situation Envisaged: The Rite II, David Hall, UK, 1988 Tall Ships, Gary Hill, USA, 1992 AIEUONN Six Features, Takahiko Iimura, Japan, 1999ġ2. Mixing It: Electronic/Digital Image Manipulation 209 Monument, Ture Sjölander and Lars Weck, Sweden, 1967 Merging-Emerging, Peter Donebauer, UK, 1978 The Reflecting Pool, Bill Viola, USA, 1977–9 Obsessive Becoming Daniel Reeves, UK/USA, 1995 Art of Memory, Woody Vasulka, USA, 1987 Juste le Temps, Robert Cahen, France, 1983 Neo Geo: An American Purchase, Peter Callas, Australia, 1989ġ1. Cutting It: Accessible Video Editing 189 Keeping Marlene Out of the Picture, Eric Cameron, Canada, 1973 Technology/ Transformation: Wonder Woman, Dara Birnbaum, USA, 1979 With Child, Catherine Elwes, UK, 1984 Blue Monday, Duvet Brothers, UK, 1984 Der Westen Lebt, Klaus vom Bruch, West Germany, 1983 Sztuka To Potega, Josef Robakowski, Poland, 1985ġ0. In and Out of the Studio: The Advent of Inexpensive Non-Broadcast Video 171 Monitor, Steve Partridge, UK, 1975 Television Delivers People, Richard Serra and Carlotta Fay Schoolman, USA,1973 This is a Television Receiver, David Hall, UK, 1974 Vertical Roll, Joan Jonas, USA, 1972 The Video Touch,Wojciech Bruszewski, Poland, 1977 Marca Registrada, Leticia Parente, Brazil, 1975ĩ. A D I S C U SS I ON O F SO M E R E P R ESENT A T I V E A N D I N F L U ENT I A L V I D EO A R T WO R K S SET I N R E L A T I ON TO T H E I R t e ch n ical A N D C R I T I C A L C ONTE X T 8. Beyond The Lens: Abstract Video Imagery and Image Processing 132 Theory and Practice: The Influence and Impact of Theoretical Ideas on Early Technology-Based Practice in the 1970s and some Significant and Influential Figures in the Development of Theoretical Discourse and Their Impact on Contemporary Art after Modernism 116 7. Musique Concrète, Fluxus and Tape Loops: The Influence and Impact of Sound Recording and Experimental Music on Video Art 105 6. Expanded Cinema: The Influence and Relationship of Experimental, AvantGarde and ‘Underground’ Film to Artists’ Video 89 5. Technology, Access and Context: Social and Political Activists and their Role in the Development of Video Art 77 4.
Crossing Boundaries: International Tendencies and Influences in Early Artists’ Video 20 3. In the Beginning: The Origins of Video Art 6 2. T H E O R I G I NS O F V I D EO A R T : T H E H I STO R I C A L A N D C U L T U R A L C ONTE X T Introduction 2 1. Typeset by Fakenham Prepress Solutions, Fakenham, Norfolk NR21 8NNĬontents List of Black and White Illustrations viii List of Colour Plates xii Preface to the 2nd edition xiii Library of Congress Cataloging-in-Publication Data A catalog record for this book is available from the Library of Congress. No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by Bloomsbury or the author. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. AA HH iissttoor ryy oo ff VV ii ddeeoo AAr rt tīloomsbury Academic An imprint of Bloomsbury Publishing Inc 1385 Broadway New York NY 10018 USAīloomsbury is a registered trade mark of Bloomsbury Publishing Plc First published 2006 by Berg Publishers This 2nd edition © Chris Meigh-Andrews, 2014 All rights reserved.
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