Video Art Theory

A Comparative Approach

Häftad, Engelska, 2015

Av Helen Westgeest, The Netherlands) Westgeest, Helen (University of Leiden

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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. A critical investigation of the visual media and selected video artworks which contributes to the understanding of video as a medium in contemporary artThe only study specifically devoted to theorizing the medium of video from the perspective of prominent characteristics which result from how video works deal with time, space, representation, and narrativeThe text has emerged out of the author’s own lectures and seminars on video artOffers a comparative approach which students find especially useful, offering new perspectives

Produktinformation

Utgivningsdatum2015-05-29
Mått150 x 224 x 15 mm
Vikt295 g
FormatHäftad
SpråkEngelska
Antal sidor224
FörlagJohn Wiley and Sons Ltd
ISBN9781118475461

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Helen Westgeest is Assistant Professor of Modern and Contemporary Art History at Leiden University, the Netherlands. Her most recent publication is Photography Theory in Historical Perspective: Case Studies from Contemporary Art (co-authored with Hilde Van Gelder, Wiley-Blackwell, 2011). Westgeest is also editor and a contributor of Take Place: Photography and Place from Multiple Perspectives (2009) and joint editor of Photography between Poetry and Politics (with Hilde Van Gelder, 2008).

Acknowledgments viiIntroduction 11 Immediacy versus Memory: Video Art in Relation to Television, Performance Art, and Home Video 20Gillian Wearing's Trauma (2000) Juxtaposed to Joan Jonas's Vertical Roll (1972) 23Video Art Dealing with the Constant Movements of Audio-Visual Electronic Media, and the Immediacy and Socio-Cultural Aspects of Television 25The Appeal of Immediacy: Video in Performance Art and Performance in Video Art 45The Application of the Mnemonic Ability of Video and the Relationship with Activist-Videos and Home Video 602 Immateriality versus Three-Dimensionality: Video Art as Sculpture, Installation Art, Projection, and Virtual Medium 79Lynn Hershman's Tillie the Telerobotic Doll (1995) Juxtaposed to Andy Warhol's Outer and Inner Space(1965) 82Television as an Object: Sculpture or Part of Architecture 85Spatial Video Installations and the Relationship with the Space of the Visitor 91Projections on Spatial Positioned Screens, the Space of Sound, and Interaction with the Visitor 96Immaterial Projections Interfering in Darkened Sites and Immersing the Viewer 104Interacting in the Merged Physical and Digital Space 1093 Moving Images Mediating as Contemplative Images: Video's Challenge of Photography, Drawing, and Painting 121Kudzanai Chiurai's Iyeza (2012) Juxtaposed to Thierry Kuntzel's E´te´ – double vue (1988) 125Video Art and Photography 130Video Art and Drawing 140Video Art and Painting 1474 Repetition and Fragmentation in Narrative: Video's Appropriation and Subversion of Classical Cinema 164Candice Breitz's Mother + Father (2005) Juxtaposed to Rodney Graham's Vexation Island (1997) and Keren Cytter's Corrections (2013) 166Aspects of Narrative in Video Art Reacting to Hollywood Films, and Views on Compulsive Repetition 169The Tension between Images and Verbal Language as Dialog, Voice-over, Voice-off, or Text 180In Lieu of a Conclusion 193Index 199