Description
Book SynopsisVideo 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.
Table of ContentsAcknowledgments vii
Introduction 1
1 Immediacy versus Memory: Video Art in Relation to Television, Performance Art, and Home Video 20
Gillian Wearing's Trauma (2000) Juxtaposed to Joan Jonas's Vertical Roll (1972) 23
Video Art Dealing with the Constant Movements of Audio-Visual Electronic Media, and the Immediacy and Socio-Cultural Aspects of Television 25
The Appeal of Immediacy: Video in Performance Art and Performance in Video Art 45
The Application of the Mnemonic Ability of Video and the Relationship with Activist-Videos and Home Video 60
2 Immateriality versus Three-Dimensionality: Video Art as Sculpture, Installation Art, Projection, and Virtual Medium 79
Lynn Hershman's Tillie the Telerobotic Doll (1995) Juxtaposed to Andy Warhol's Outer and Inner Space
(1965) 82
Television as an Object: Sculpture or Part of Architecture 85
Spatial Video Installations and the Relationship with the Space of the Visitor 91
Projections on Spatial Positioned Screens, the Space of Sound, and Interaction with the Visitor 96
Immaterial Projections Interfering in Darkened Sites and Immersing the Viewer 104
Interacting in the Merged Physical and Digital Space 109
3 Moving Images Mediating as Contemplative Images: Video's Challenge of Photography, Drawing, and Painting 121
Kudzanai Chiurai's Iyeza (2012) Juxtaposed to Thierry Kuntzel's E´te´ – double vue (1988) 125
Video Art and Photography 130
Video Art and Drawing 140
Video Art and Painting 147
4 Repetition and Fragmentation in Narrative: Video's Appropriation and Subversion of Classical Cinema 164
Candice Breitz's Mother + Father (2005) Juxtaposed to Rodney Graham's Vexation Island (1997) and Keren Cytter's Corrections (2013) 166
Aspects of Narrative in Video Art Reacting to Hollywood Films, and Views on Compulsive Repetition 169
The Tension between Images and Verbal Language as Dialog, Voice-over, Voice-off, or Text 180
In Lieu of a Conclusion 193
Index 199
