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Gesamtkunstwerk: a total work of art Derives from Richard Wagner and his essay 1849  “The Art-Work of the Future,” in whic...
“ The Theater of Totality with its multifarious complexities of light, space, plane, form, motion, sound, man – and with a...
1960s experiments – creating new media viewing environments
“ Movie Drome,” Stan Vanderbeek, 1963
“ Movie Drome,” exterior view
“ Movie Drome,” interior view
“ Multiple projections occupied the foreground of a visual culture that was intent upon liberating itself from the convent...
multiple screens – expansion of visual horizons – intensification of visual experience – new approach to narrative – diffu...
“ Glimpses of the USA,” Ray + Charles Eames, 1959
“ Think,” presented in the “Ovoid Theater,” Ray + Charles Eames, 1965
“ Outer and Inner Space,” Andy Warhol, 1965
sculptural video installation
“  Shower,” Robert Whitman, 1964, film loop, shower curtain, water
“ Video Pyramid,” Nam June Paik, 1982
“ Benevolence,” Nam June Paik
“ Incubator,” Tony Oursler, 2003
“ Junk,” Tony Oursler, 2003
“ Underwater (Blue/Green),” Tony Oursler, 1995
“ Heaven and Earth,” Bill Viola, 1992
the physical properties of moving image: – projector beam as sculptural form – transparency of the screen – seriality of t...
“ Line Describing a Cone,” Anthony McCall, 1973
“ The Veiling,” Bill Viola, 1995
“ Shutter Interface,” Paul Sharits, 1975
“ Running Falling,” Jim Campbell, 2000
“ Nantes Triptych,” Bill Viola, 1992
–  scale – participation – movement – multiple viewpoints – attention to surrounding space – dissolution of Cartesian coor...
“ The Crossing,” Bill Viola, 1996
“ The Crossing,” Bill Viola, 1996
“ The Greeting,” Bill Viola, 1995
“ Winchester,” Jeremy Blake, 2003
 
“ Going Forth by Day,” Bill Viola, 2002, video installation in five parts
“ Knots and Surfaces,” Diana Thater, 2001
“ Smokescreen,” Jennifer Steinkamp, 1996
“ sin(time),” Jennifer Steinkamp, 2001
“ Late and Soon, Occident Trotting,” Diana Thater, 1993, four projectors
“ Sip My Ocean,” Pipilotti Rist, 1996,  two projectors
“ Corps Étranger (Foreign Body),” Mona Hatoum, 1994
“ Corps Étranger (Foreign Body),” Mona Hatoum, 1994
“ Climate,” Inigo Manglano-Ovalle, 2000, three-channel video installation
narrative strategies – reduction – episodic – split/recombined – ambient – spatialized – rhizomatic dispersal
“ Tuin,” Runa Islam, 1998
“ Horror Chase,” Kevin + Jennifer McCoy, 2003
“ Win, Place or Show,” Stan Douglas, 1998
“ In Love,” Patty Chang, 2001, two-channel installation
“ Love Is a Treasure,” Eija-Liisa Ahtila, 2003
“ Consolation Service,” Eija Liisa Ahtila,
“ Electric Earth,” Doug Aitken, 1999
“ Electric Earth,” Doug Aitken, 1999
“ Electric Earth,” Doug Aitken, 1999
“ Blow Debris,” Doug Aitken, 2002
“ Blow Debris,” Doug Aitken, 2002
“ Blow Debris,” Doug Aitken, 2002
“ The Moment,” Doug Aitken, 2005
“ The Moment,” Doug Aitken, 2005
interactive video installations
“ The Legible City,” Jeffrey Shaw, 1988 - 1991
“ Be Now Here,” Michael Naimark, 1995 -2002
Immersion vest, Char Davies, 1995
“ Osmose,” Char Davies, 1995
“ Osmose,” Char Davies, 1995
“ Osmose,” Char  Davies, 1005
“ Osmose,” Char Davies, 1995
“ Cockfight Arena,” Eddo Stern, 2001
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Video Installation

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  • Transcript of "Video Installation"

    1. 1. Gesamtkunstwerk: a total work of art Derives from Richard Wagner and his essay 1849 “The Art-Work of the Future,” in which opera offered a meeting point for all of the arts in a total art work.
    2. 2. “ The Theater of Totality with its multifarious complexities of light, space, plane, form, motion, sound, man – and with all the possibilities for varying and combining these elements – must be an ORGANISM.” Lazlo Moholy-Nagy, 1924
    3. 3. 1960s experiments – creating new media viewing environments
    4. 4. “ Movie Drome,” Stan Vanderbeek, 1963
    5. 5. “ Movie Drome,” exterior view
    6. 6. “ Movie Drome,” interior view
    7. 7. “ Multiple projections occupied the foreground of a visual culture that was intent upon liberating itself from the conventional concept of the painting, from the technical and material restrictions of imaging technology and from the repressive determinants of the social codes.” Peter Weibel
    8. 8. multiple screens – expansion of visual horizons – intensification of visual experience – new approach to narrative – diffuse and fragmented p.o.v. correlated with new perception of the world
    9. 9. “ Glimpses of the USA,” Ray + Charles Eames, 1959
    10. 10. “ Think,” presented in the “Ovoid Theater,” Ray + Charles Eames, 1965
    11. 11. “ Outer and Inner Space,” Andy Warhol, 1965
    12. 12. sculptural video installation
    13. 13. “ Shower,” Robert Whitman, 1964, film loop, shower curtain, water
    14. 14. “ Video Pyramid,” Nam June Paik, 1982
    15. 15. “ Benevolence,” Nam June Paik
    16. 16. “ Incubator,” Tony Oursler, 2003
    17. 17. “ Junk,” Tony Oursler, 2003
    18. 18. “ Underwater (Blue/Green),” Tony Oursler, 1995
    19. 19. “ Heaven and Earth,” Bill Viola, 1992
    20. 20. the physical properties of moving image: – projector beam as sculptural form – transparency of the screen – seriality of the film sequence
    21. 21. “ Line Describing a Cone,” Anthony McCall, 1973
    22. 22. “ The Veiling,” Bill Viola, 1995
    23. 23. “ Shutter Interface,” Paul Sharits, 1975
    24. 24. “ Running Falling,” Jim Campbell, 2000
    25. 25. “ Nantes Triptych,” Bill Viola, 1992
    26. 26. – scale – participation – movement – multiple viewpoints – attention to surrounding space – dissolution of Cartesian coordinates
    27. 27. “ The Crossing,” Bill Viola, 1996
    28. 28. “ The Crossing,” Bill Viola, 1996
    29. 29.
    30. 30. “ The Greeting,” Bill Viola, 1995
    31. 31. “ Winchester,” Jeremy Blake, 2003
    32. 33. “ Going Forth by Day,” Bill Viola, 2002, video installation in five parts
    33. 34. “ Knots and Surfaces,” Diana Thater, 2001
    34. 35. “ Smokescreen,” Jennifer Steinkamp, 1996
    35. 36. “ sin(time),” Jennifer Steinkamp, 2001
    36. 37. “ Late and Soon, Occident Trotting,” Diana Thater, 1993, four projectors
    37. 38. “ Sip My Ocean,” Pipilotti Rist, 1996, two projectors
    38. 39. “ Corps Étranger (Foreign Body),” Mona Hatoum, 1994
    39. 40. “ Corps Étranger (Foreign Body),” Mona Hatoum, 1994
    40. 41. “ Climate,” Inigo Manglano-Ovalle, 2000, three-channel video installation
    41. 42. narrative strategies – reduction – episodic – split/recombined – ambient – spatialized – rhizomatic dispersal
    42. 43. “ Tuin,” Runa Islam, 1998
    43. 44. “ Horror Chase,” Kevin + Jennifer McCoy, 2003
    44. 45. “ Win, Place or Show,” Stan Douglas, 1998
    45. 46. “ In Love,” Patty Chang, 2001, two-channel installation
    46. 47. “ Love Is a Treasure,” Eija-Liisa Ahtila, 2003
    47. 48. “ Consolation Service,” Eija Liisa Ahtila,
    48. 49. “ Electric Earth,” Doug Aitken, 1999
    49. 50. “ Electric Earth,” Doug Aitken, 1999
    50. 51. “ Electric Earth,” Doug Aitken, 1999
    51. 52. “ Blow Debris,” Doug Aitken, 2002
    52. 53. “ Blow Debris,” Doug Aitken, 2002
    53. 54. “ Blow Debris,” Doug Aitken, 2002
    54. 55. “ The Moment,” Doug Aitken, 2005
    55. 56. “ The Moment,” Doug Aitken, 2005
    56. 57. interactive video installations
    57. 58. “ The Legible City,” Jeffrey Shaw, 1988 - 1991
    58. 59. “ Be Now Here,” Michael Naimark, 1995 -2002
    59. 60. Immersion vest, Char Davies, 1995
    60. 61. “ Osmose,” Char Davies, 1995
    61. 62. “ Osmose,” Char Davies, 1995
    62. 63. “ Osmose,” Char Davies, 1005
    63. 64. “ Osmose,” Char Davies, 1995
    64. 65. “ Cockfight Arena,” Eddo Stern, 2001
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