Video Art Theory : A Comparative Approach (Hardcover)

Acknowledgments 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