video - Images recorded on videotape or on optical disc to be viewed on television screens, or the medium through which these images are recorded and displayed.

 

Examples:

 

see thumbnail to rightNam June Paik (Korean-American, 1932-2006), Global Groove, 1973, photograph of a video screen / still from 3/4 inch color videotape, sound, 30 minutes, Museum of Modern Art, New York. Nam June Paik pioneered in this medium in the early 1960s.

 

 

 

 

see thumbnail to leftNam June Paik, Untitled, 1993, player piano, fifteen televisions, two cameras, two laser disk players, one electric light and light bulb, and wires; overall approximately 8 feet 4 inches x 8 feet 9 inches x 48 inches (254 x 266.7 x 121.9 cm), including laser disk player and lamp, Museum of Modern Art, New York.

 

see thumbnail aboveNam June Paik, Megatron, 1995, Guggenheim Museum, NY.

 

 

Jud Yalkut (American, 1938-) and Nam June Paik, Videotape Study No. 3, 1967-69, videotape, black-and-white, sound, 4 minutes, courtesy of Electronic Arts Intermix, NY.

 

 

Peter Campus (American, 1937-), Prototype for Interface, 1972, video camera, monitor, and glass, dimensions variable, collection of the artist.

 

see thumbnail to rightBruce Nauman (American, 1941-), Good Boy Bad Boy, 1985, color video and monitors, installation, Tate Gallery, London.

 

see thumbnail to leftBruce Nauman, Violent Incident, 1986, video, 200.0 x 250.0 x 90.0 cm, installation, Tate Gallery, London.

 

see thumbnail aboveBruce Nauman, Raw Material: Brrr, 1990, Guggenheim Museum, NY.

 

 

Steina and Woody Vasulka (American, Steina Vasulka 1940-, Woody Vasulka 1937-), Calligrams, 1970, videotape, black-and-white, silent, 12 minutes.

 

 

 

see thumbnail to left"Gilbert and George" Gilbert Proesch and George Passmore (English, 1943- and 1942-), In the Bush, 1972, video installation, Tate Modern, London. See collaboration.

 

 

 

see thumbnail to right"Gilbert and George" Gilbert Proesch and George Passmore, A Portrait of the Artists as Young Men, 1972, video installation, Tate Gallery, London. See self-portrait.

 

 

Ann Hamilton (American, 19..-), Untitled (ear/water), Untitled (mouth/water), Untitled (neck/water), Untitled (mouth/stones), 1993, four videos, each 30-minute video disk, LCD monitor with color toned image, and laser disk player, 9 1/2 x 17 x 3/16 inches (24.1 x 43.2 x 2.1 cm), edition: 6/9, Museum of Contemporary Art, Chicago.

 

 

Gary Hill (American, 1951-), Inasmuch as it is Always Already Taking Place, 1990, 16 channel video installation (NTSC, black-and-white, sound) with 16 modified video monitors, synchronizer, and niche, collection of the artist. Sixteen picture tubes in various sizes are loosely arrayed in a jumble, and housed within a deep horizontal alcove at chest level. Each screen displays an image of a portion of the artist's body — an upturned ear, a curled spine, a heaving chest — magnified and bathed in a soft, blue glow. The spare movements of each bodily fragment are accompanied by the gentle sounds of rustling paper, hushed phrases, and the rubbing of skin, repeating endlessly in a closed loop. See self-portrait.

 

 

Bill Viola (American, 1951-), Room for St. John of the Cross, 1983, video installation, ed. of 1, dimensions variable, Museum of Contemporary Art, Los Angeles.

 

 

Bill Viola, City of Man, 1989, video installation, three projections, Guggenheim Museum, NY.

 

 

Bill Viola, The Tree of Knowledge, 1997, video and computer, 168 x 144 x 1080 inches (430 x 368.6 x 2764.8 cm), collection of the artist; courtesy James Cohan Gallery, New York and Anthony d`Offay Gallery, London; produced by the ZKM Institute for Visual Media, Karlsruhe, Germany; animation, Bernd Linterman using xFrog software; laser position tracking, Andre Bernhardt.

 

 

see thumbnail to leftTony Oursler (American, 1957-), MMPI (Self-Portrait in Yellow), 1996, video installation with video projector, VCR, video tape, small cloth figure and metal chair, Milwaukee Art Museum, WI. MMPI stands for the Minnesota Multiphasic Personality Inventory, a diagnostic tool developed in the 1950s as a test for mental health. It is based on the discovery that individuals with similar mental disorders frequently answer the same questions in similar ways. A projection of the artist's head is seen pinned beneath the overturned chair, as he answers one of the test's questions after another. See self-portrait.

 

Paul Pfeiffer (American, 1966-), Fragment of a Crucifixion (After Francis Bacon), 1999, digital video loop, DVD player, miniature projector, and metal armature; image 3 x 4 inches; overall, including cables: 20 x 5 x 20 inches (50.8 x 12.7 50.8 cm), Whitney Museum of American Art, NY.

 

Matthew Barney (American, 1967-), Drawing Restraint 7, 1993, video monitors, laserdisc players, silent color laserdiscs, steel, plastic, and fluorescent lighting fixture; room dimension, 120 x 180 x 264 inches (304.8 x 457.2 x 670.6 cm), Whitney Museum of American Art, NY.

 

 

 

 

see thumbnail to rightKristin Lucas (American, contemporary), 5 Minute Break, 2001, two-channel video installation, 4:35 minutes, Museum of Modern Art, NY. "In Kristin Lucas’s video installation 5 Minute Break, a female avatar roams the World Trade Center’s sub-basement. A benign version of the popular video game and film character Lara Croft, the animated figure negotiates an underground maze of empty stairwells, faded graffiti, hulking machinery, and discarded trash. She is in a passive, idle mode, as if a video game player has momentarily left the control console."

 

 

 

Related Links:

 

 

 

animation of a chaotic image on a video monitor

Also see analog, art careers, aspect ratio, digital image, filter, iconoscope, monitor, movement, MPEG, music, new media, pan, panning shot, puppetry, theater, tilt, tracking shot, wide-angle lens, wide-angle shot, and zooming.


 

 

 

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