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Video art theory : a comparative approach / Helen Westgeest

Author
Westgeest, Helen, 1958-
Published
Chichester, West Sussex, UK ; Malden, MA : John Wiley & Sons Inc., 2016.
Physical Description
211 pages ; 23 cm

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Contents
Machine generated contents note: Gillian Wearing's Trauma (2000) Juxtaposed to Joan Jonas's Vertical Roll (1972) -- Video Art Dealing with the Constant Movements of Audio-Visual Electronic Media, and the Immediacy and Socio-Cultural Aspects of Television -- The Appeal of Immediacy: Video in Performance Art and Performance in Video Art -- The Application of the Mnemonic Ability of Video and the Relationship with Activist-Videos and Home Video -- Lynn Hershman's Tillie the Telerobotic Doll (1995) Juxtaposed to Andy Warhol's Outer and Inner Space (1965) -- Television as an Object: Sculpture or Part of Architecture -- Spatial Video Installations and the Relationship with the Space of the Visitor -- Projections on Spatial Positioned Screens, the Space of Sound, and Interaction with the Visitor -- Immaterial Projections Interfering in Darkened Sites and Immersing the Viewer -- Interacting in the Merged Physical and Digital Space -- Kudzanai Chiurai's Iyeza (2012) Juxtaposed to Thierry Kuntzel's Été [—] double vue (1988) -- Video Art and Photography -- Video Art and Drawing -- Video Art and Painting -- Candice Breitz's Mother + Father (2005) Juxtaposed to Rodney Graham's Vexation Island (1997) and Keren Cytter's Corrections (2013) -- Aspects of Narrative in Video Art Reacting to Hollywood Films, and Views on Compulsive Repetition -- The Tension between Images and Verbal Language as Dialog, Voice-over, Voice-off, or Text.
Summary
Video Art Theory: A Comparative Approach demonstrates how video art functions on the basis of a comparative media approach, providing a crucial understanding of video as a medium in contemporary art and of the visual mediations we encounter in daily life. --
Having a highly elusive character from the outset, video art has also evolved strongly as an art form in the five decades of its existence. This transformation notably gave rise to exciting changes in its relationships to other media. These concerns serve as the starting point for this study. Throughout the four chapters of the book, the author demonstrates why it is impossible to capture video art in a single, all-inclusive definition. Rather than searching for medium-specificity or a general theory, this study proves that it is more useful to develop a theoretical interdisciplinary framework for research into video art. Video artworks are compared with television and performance art (with regard to immediacy); installation art (dealing with space); photography and painting (related to representation); and cinema (with importance of narrative). This methodology not only yields new perspectives, but crucially provides students with a much-needed context for understanding the evolution and paramount importance of video as a medium. --Book Jacket.
Subject(s)
ISBN
9781118475447 hardcover
1118475445 hardcover
9781118475461 paperback
1118475461 paperback
Bibliography Note
Includes bibliographical references and index.
View MARC record | catkey: 16205210