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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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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