Video Installation Art the Body the Image and the Spaceinbetween 1990 by Margaret Morse

Video Installation

Johanna Gosse

• LAST MODIFIED: 26 February 2020
• DOI: 10.1093/obo/9780199791286-0325

Introduction

While at outset, "video installation" would seem to refer to a particular medium and mode of display, in practice, the term is applied to a range of intersecting media, histories and genres, including but non express to experimental and expanded movie theatre, video art, installation fine art, digital and new media art, and the emergent category of artists' moving image. In curt, "video installation" encompasses an expansive field of moving prototype practices, formats, and configurations, from multichannel film project to video sculpture to immersive and interactive media environments. The term tin can utilize to moving images that emanate from or are projected onto screens, monitors, or mobile devices, and are displayed in spaces exterior of a conventional cinematic context. In terms of historical periodization, the ascent of video installation coincided with the emergence of analog video technology in the mid- to late 1960s and the concomitant emergence of installation fine art during this aforementioned menstruum. Up until the 1980s, video installation took shape predominantly as gallery-based displays of CRT monitors. Often configured into sculptural arrangements that self-reflexively acknowledge their physical support, "video sculptures" invoke and comment upon video's genetic ties to broadcast tv set. Yet, other, more feedback-driven modes of installation, such as Nam June Paik's Television-Buddha (1974) or Bruce Nauman's Live-Taped Video Corridor (1970), emphasize the instantaneity of real-fourth dimension closed circuit video over the sculptural presence of the monitor, and thus privilege surveillant over the televisual optics. By the 1990s, every bit video projectors improved in quality and decreased in cost, the bulky CRT gave way to the projected moving image, which in plough has emerged every bit a dominant mode within gimmicky artistic production. Since it can adapt to a variety of spaces and surfaces—wall, ceiling, floor, screen, objects, even viewers' bodies—projection opens upward a multitude of experiential possibilities. Projection tin can also be sculptural, as in the piece of work of Tony Oursler and Krystof Wodizcko, who generate uncannily embodied video portraits by projecting moving images onto free-standing objects, buildings, and monuments. Video projection can as well be immersive or ecology, such as in Anthony McCall'southward Solid Lite Works (2005–2010), a suite of monumental, linear beams of white light projected into darkened gallery spaces, which act equally updated, digital variations of his influential expanded cinema work, Line Describing a Cone (1973). In response to its dominant position inside gimmicky artistic practice, scholarship and criticism devoted to moving image installation, curation, and distribution take spiked since the 1990s. This bibliography offers a choice of relevant literature on this topic. Beginning with an overview of key scholarship on the history of video art and contemporary artists' moving image, the bibliography transitions to more focused, thematic investigations of and meaning prehistories, including topics like expanded cinema, video aesthetics and ecologies, and installation art. Finally, it includes a selection of fundamental exhibition catalogues, including specialized sections on video project and video sculpture. In tracing the entwined emergence of video and installation art since the 1960s, this bibliography as well limns some other historical intersection, that of video fine art and experimental film. While typically, these practices have been framed as historically distinctive, aesthetically autonomous and driven by medium-specific concerns, this bibliography takes inspiration from and highlights more than recent scholarly, disquisitional, and curatorial perspectives that align and cross-reference these traditions, and in doing so, situate themselves at the disciplinary intersection of art history and pic and media studies.

Edited Collections and Anthologies on Video Fine art and Installation

Since the belatedly 1970s, multiple edited collections and anthologies accept gathered writings by art historians, critics, curators, and artists on video fine art. The works in this department can be divided into two generations of primary and secondary sources. Battcock 1978; Hall and Fifer 1990; Hanhardt 1986; and Korot, et al. 1976 are essential chief sources by artists and critics that have shaped the field. Bovier and Mey 2015, Comer 2009, Hatfield 2006, Jennings 2015, Leighton 2008, and Trodd 2010 are more recent anthologies of scholarly and critical writings on video.

• Battcock, Gregory, ed. New Artists' Video: A Disquisitional Anthology. New York: Due east. P. Dutton, 1978.

  Anthology compiled past noted critic gathering together reprinted and original essays by prominent artists and commentators on early video, by and large hailing from the New York scene. Notable contributions include "The End of Video: White Vapor" by Douglas Davis; Nam June Paik and Charlotte Moorman's "Videa, Vidiot, Videology"; Lynn Hershman's "Reflections on the Electric Mirror"; and a reprint of Rosalind Krauss's seminal essay "Video: The Aesthetics of Narcissism."

• Bovier, François, and Adeena Mey, eds. Exhibiting the Moving Image: History Revisited. Zurich, Switzerland: JRP I Ringier, 2015.

  Drove stemming from a inquiry project and conference held at the ECAL/University of Art and Pattern, Lausanne, focusing on the "exhibitionary complex" (qua Tony Bennett) that supports, controls, and maintains gimmicky moving image art spectatorship. Includes historical example studies of moving epitome exhibition history and practise, from prominent scholars of artists' moving image, including Erika Balsom, Maeve Connolly, Giuliana Bruno, and Kate Mondloch.

• Comer, Stuart, ed. Film and Video Art. London: Tate, 2009.

  Survey of film and video edited by onetime curator of Media Art at Tate Modern, currently master curator of Media & Operation at the Museum of Modernistic Art. Chapters of particular relevance to the topic of video installation include essays past Michael Newman, John Wyver, and Christiane Paul.

• Hall, Douglas, and Sally Jo Fifer, eds. Illuminating Video. New York: Aperture Foundation, 1990.

  Significant collection of critical writings past leading artists and critics, including Martha Rosler's influential essay "Video: Shedding the Utopian Moment." Chapters are organized according to the post-obit themes: Histories, Furniture/Sculpture/Architecture, Audience/Reception: Access/Command, Syntax and Genre, and Telling Stories. Margaret Morse'southward essay "Video Installation Fine art: The Body, the Prototype, and the Space-in-Between" is of item relevance to the discipline of video installation.

• Hanhardt, John Yard., ed. Video Culture: A Critical Investigation. Layton, UT: Peregrine Smith Books, 1986.

  A collection of short texts divided into 3 sections. The start, "Theory and Practice," provides groundwork through excerpted texts by major critics and theorists of 20th-century media and culture such as Walter Benjamin and Jean Baudrillard. Two subsequent sections examine different dimensions of video art do—"Video and Television," "Film and Video: Differences and Futures"—with excerpts from cardinal texts by influential critics, artists, theorists, and curators of video such as David Antin, Rosalind Krauss, Stanley Cavell, Nam June Paik, and Jack Burnham.

• Hatfield, Jackie, ed. Experimental Film and Video: An Anthology. Bloomington: Indiana University Press, 2006.

  This highly illustrated album that brings together artworks, writings, and interviews by a broad array of contemporary artists working in experimental film, video art, and interactive digital media. Contributors consider the history of experimental moving image practice by contextualizing their ain practice against the history of experimental moving image exercise since the tardily 1960s. Introduced by iii prominent UK-based scholars of movie and video: Hatfield, Sean Cubitt, and A. L. Rees.

• Jennings, Gabrielle, ed. Abstract Video: The Moving Paradigm in Gimmicky Art. Berkeley: Academy of California Printing, 2015.

  Edited drove that focuses on the history and aesthetics of brainchild in moving epitome art, from abstract animation, "visual music," and expanded movie theater to more contemporary phenomena like CGI, glitch, and new media installation. Contributors include John Hanhardt, Cindy Keefer, and Gregory Zinman, with a forrard by Kate Mondloch.

• Korot, Beryl, Mary Lucker, and Ira Schneider, eds. Video Art: An Anthology. London and New York: Harcourt Brace Jovanovich, 1976.

  Includes reprints of a number of influential early essays on video art, including David Antin's "Video: The Distinctive Features of the Medium," which originally appeared the ICA Philadelphia'southward Video Art catalogue from 1975.

• Leighton, Tanya B., ed. Art and the Moving Image: A Critical Reader. London: Tate, 2008.

  Edited collection highlighting the intersection between postwar and gimmicky art and the moving image, from avant-garde movie theater to expanded cinema to video installation. Of particular relevance to the topic of video installation are Liz Kotz'south essay "Video Projection: The Space between Screens" and Ursula Frohne's "Dissolution of the Frame: Immersion and Participation in Video Installations.

• Trodd, Tamara, ed. Screen/Space: The Projected Prototype in Contemporary Art. Manchester, UK: Academy of Manchester Press, 2010.

  Collection examining the history of the projected moving image, from the historical avant-garde to digital installation art. Introduction outlines its aim to move beyond medium-specificity in favor of questions of spectatorship, audience experience, and institutional politics. Contributors analyze the projected moving image across technological supports, from 16mm motion picture to slide shows to Hard disk drive digital video, with item attention to the material specificities of gallery installation. Of particular relevance to video installation is Joanna Lowry, "Projecting Symptoms."

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