Preface to the 2nd edition Part 1. The Origins of Video Art: The Historical and Cultural Context Chapter 1. In The Beginning: The Origins of Video Art Chapter 2. Crossing Boundaries: International Tendencies and Influences in Early Artists’ Video Chapter 3. Technology, Access and Context: Social and Political Activists and Their Role in the Development of Video Art Chapter 4. Expanded Cinema: The Influence of Experimental, Avant-Garde and “Underground” Film Chapter 5. Musique Concrete, Fluxus and Tape Loops: The Influence of Sound Recording and Experimental Music on Artists’ Video Chapter 6. Theory and Practice: The Impact of Theoretical Ideas on Early Technology-Based Practice in the 1970s Chapter 7. Beyond the Lens: Abstract Video Imagery and Image Processing Part 2: A Discussion of Some Representative and Influential Video Art Works Set in Relation to Their Technological and Critical Context Chapter 8. In and Out of the Studio: The Advent of Inexpensive Non-Broadcast Video Chapter 9. Cutting It: Accessible Video Editing Chapter 10. Mixing it: Electronic/Digital Image Manipulation Chapter 11. The Gallery Opens its Doors: Video Installation and Projection Chapter 12. The Ubiquity of the Video Image: Artists’ Video as an International Phenomenon Part 3: The Development of Artists’ Video and Installation in Response to Technological Change and Accessibility Chapter 13. Fields, Lines & Frames: Video as an Electronic Medium Chapter 14. The Means of Production: Feminism, Race, Gender, Technology and Access Chapter 15. Off the Wall: Video Sculpture and Installation Chapter 16. Going Digital: The Emergence of Digital Video Editing, Processing and Effects Chapter 17.Video Art in the New Millennium: New Developments in Artists’ Video since 2000 Part 4. References • Technical Glossary • Bibliography • Index
A History of Video Art, second edition, is a critical introduction and guide to artists' video covering the period from the early 1960s, when video art first appeared as a distinctive medium, to the present, when digital technology merged video's distinctive practice with that of independent film-making and photography.
Chris Meigh-Andrews is Professor of Electronic & Digital Art and Director of the Electronic and Digital Art Unit at the University of Central Lancashire. He studied Fine Art at Goldsmiths and has a PhD from the Royal College of Art. A practising artist specialising in electronic & digital media, he has been exhibiting his videotapes, projections and installations internationally since 1978. His most recently completed work, The Monument Project (2009-2011) which produces a continuously updated time-lapse panoramic view from the top of the Monument in the City of London was commissioned by Julian Harrap Architects. In 2010 Meigh-Andrews was awarded a Diawa Foundation grant to research early artists’ video in Japan.
Meigh-Andrews views his history through the lens of technological
development, whilst never losing sight of the many artists'
creative and subjective visions, which he covers through
representative case studies of significant works. The extensive new
picture research offers resonant images that evoke memories for
some and discovery for new readers. This book is essential reading
for all students, scholars, artists and curators who are interested
in the subject.
*Professor Stephen Partridge, artist and Principal Investigator for
REWIND | Artists' Video in the 1970s & 80s, Duncan of Jordanstone
College of Art and Design, University of Dundee, UK*
No other writer on video has Meigh-Andrews' grasp of the feeling of
working with electronic media, in all their forms since the 1960s:
the artist's perspective on making and showing. With new material
expanding the temporal and geographic reach of the book, A History
of Video Art is the essential guide to the art form that more than
any other defines seeing over the last half century.
*Sean Cubitt, Professor of Film and Television, Goldsmiths,
University of London, UK*
Covering both video art many other related media technologies and
art forms of the second part of the 20th century, this book is a
fantastic and unique resource. I highly recommend to anybody
interested in the history, aesthetics, and social context of media
art.
*Lev Manovich, Professor, The Graduate Center, City University of
New York, USA and Director, Software Studies Lab*
Meigh-Andrews’ own significant contribution to video practice and
his obvious familiarity with the British video art scene has
resulted in an insightful guide to the development of the medium
and the surrounding discourses. The book is an ideal introduction
to video for the student or general reader while providing for the
historian of contemporary art an effective key for opening up the
complexities of the historical and technological nuances of the
medium.
*First Edition review*
An excellent and welcome addition to contemporary writing on video
art. It has what a lot of the other books are missing: it has much
more detail on the technology behind the cameras, editing systems
and installations; it situates video art in relation to the other
art movements; and it offers an in-depth discussion of video art's
links to experimental music. If you (or your students) have access
to the Video Data Bank "Surveying the First Decade," this book is a
great compliment to many of the videos featured in this collection.
It provides detailed accounts of many key works and is particularly
strong on figures like Woody and Steina Vasulka, British video art
and European video art which a lot of books ignore entirely. I
would recommend this in tandem with Illuminated Video.
*First edition review*
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