Abstract Video: The Moving Image in Contemporary Art by Gabrielle Jennings, Kate Mondloch

By Gabrielle Jennings, Kate Mondloch

providing old and theoretical positions from quite a few artwork historians, artists, curators, and writers, this groundbreaking assortment is the 1st sizeable sourcebook on abstraction in moving-image media. With a specific specialize in artwork considering the fact that 2000, Abstract Video addresses an extended background of experimentation in video, internet artwork, set up, new media, multiplied cinema, visible track, and experimental movie. Editor Gabrielle Jennings—a video artist herself—reveals as by no means earlier than how works of summary video will not be only, because the popular curator Kirk Varnedoe as soon as positioned it, “pictures of nothing,” yet relatively amorphous, ungovernable areas that motivate contemplation and innovation. In explorations of the paintings of celebrated artists akin to Jeremy Blake, Mona Hatoum, Pierre Huyghe, Ryoji Ikeda, Takeshi Murata, Diana Thater, and Jennifer West, along rising artists, this quantity provides clean and full of life views on a burgeoning and ever-changing area of latest art.

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An example is Variations on Johnny Carson vs. Charlotte Moorman (1966), in which we see Moorman on the Johnny Carson television show in an impromptu performance which Paik transforms into a chance event through a video image which constantly breaks down. These works predate Paik’s own image-processing and colorizing system, the Paik-Abe Video Synthesizer, and the various other image-modifying and synthesizing tools created in the early 1970s. As in the case of my discussion of abstraction in film, I have chosen to highlight a specific body of works which focus on the chance occurrences and unique properties of the electronic medium unmediated by image-processed or post-production technologies; thus, I have not included the Rutt-Etra Synthesizer, the Paik-Abe Video Synthesizer, or the works of Shalom Gorewitz, Stephen Beck, Eric Siegel, Ed Emshwiller, Barbara Buckner, Peer Bode, or Matthew Schlanger, among others.

Nor did he wish to introduce his own content into the daily digest of programs in the form of innovative “arts” content. In what follows, the terms and implications of Kosuth’s nonauteurist infiltration of the medium of television will hopefully become a little clearer.

Here the three projectors were each placed at a different distance from the wall, creating projected images of different scale in relation to each other. He synchronized the movement of the three films through the projectors in order to develop visual relationships between the projected images. Because the two larger images are successive refilmings of the first, layers of time are created, disrupting and expanding the temporal dimension of the original footage. In Third Degree Sharits confronts the material basis of the film 2 2 • T r a n s m i s s i o n medium by burning the individual frames.

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