This theory/practice studio course explores the medium of video as an art form. Through a survey of historical and contemporary works, students will examine how history, access, culture and technological shifts have influenced and changed how artists work with the moving image and time-based media. From early portable video rigs and live video to the use of animation, netart, streaming video, and memes, the course will unpack role that film, video, sound, writing, performance, abstraction, installation, structure, streaming and narrative forms have played in their work. Students create individual video projects to develop their artistic voice and point of view; they engage with properties that distinguish video art practices while completing a series of creative experiments in order to develop a personal media vocabulary. Students will use video art to expand our understanding of time, space, sound, representation, and narrative.
[Source: ORC/Catalog, 03/29/2022] Dist:ART
Moving-image works exhibited in art gallery or museum spaces rather than in cinema auditoria, the distinction often being characterized as ‘white cube’ (gallery) as against ‘black box’ (cinema). Exhibits of gallery films, which often incorporate multiple screens and sometimes also non-screen media, are normally termed installations rather than screenings, with installation spaces organized so that viewers may come and go as they please, spending as much or as little time as they like with the work. Artists’ moving-image works have featured internationally in galleries since the late 1960s: the pioneering work of the Korean video artist Nam June Paik, for example Global Groove (1973), was made expressly for art spaces. By the 1990s, art galleries had also begun to show earlier experimental 8 mm and 16 mm films that had previously been screened mainly in ‘black-box’-like conditions (in filmmakers’ co-operatives, for instance). In 1996 the Whitney Museum in New York mounted a major retrospective of artists’ films of the 1960s and 1970s, including Anthony McCall’s Line Describing a Cone (1973), an important work of expanded cinema: a moving-image practice aiming to expand vision beyond the single, screened image, expanded cinema constitutes a vital link between avant-garde film and gallery film. Recent years have also seen a marked shift in contemporary art practice towards the moving image, so that many artists who would not necessarily consider themselves filmmakers are now making works that in some way or other incorporate film and/or video. ...
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