This document provides an overview of photography and time-based media. It begins by outlining the origins of photography from the camera obscura to early photographic processes developed by Talbot, Daguerre, and others. Key developments in film such as Edison's Kinetoscope and the Lumiere brothers' Cinématographe are also discussed. The document then examines formal elements of photography like composition, lighting techniques, and the Zone System. It explores how color photography, digital technologies, and artists like Gursky and Goldin have transformed the medium. Principles of film editing, shots, and Griffith's innovations in The Birth of a Nation are outlined. The impact of time-based art into the digital age

1. WORLD OF ARTWORLD OF ART
CHAPTER
EIGHTH EDITION
World of Art, Eighth Edition
Henry M. Sayre
Copyright © 2016, 2013, 2010
by Pearson Education, Inc. or its affiliates.
All rights reserved.
Photography and
Time-Based Media
11

2. Learning ObjectivesLearning Objectives
1 of 31 of 3
1. Describe the origins of photography
and the formal principles that most
inform it.
2. Describe how color and digital
technologies have transformed
photographic practice.

3. Learning ObjectivesLearning Objectives
2 of 32 of 3
3. Outline the basic principles of film
editing, including montage, as well as
the technological developments that
advanced the medium.
4. Outline some of the ways that video
art has exploited the immediacy of the
medium while at the same time
critiquing popular culture.

4. Learning ObjectivesLearning Objectives
3 of 33 of 3
5. Discuss some of the technological
innovations that have advanced time-
based art into the digital age.

5. IntroductionIntroduction
1 of 31 of 3
• Catherine Opie's series of photographs
for the Cleveland Clinic installation was
created over the course of 12 months.
 It illustrates the fundamental ability of
photography to capture moments in
time.
• Photography began in 1838 with still
images.

6. Catherine Opie, Untitled #13 (Spring), from Somewhere in the Middle, suite of 22
photographs installed at the Cleveland Clinic's Hillcrest Hospital.
2011. Inkjet print, 50 × 37-1/2".
© Catherine Opie. [Fig. 11-1]

7. IntroductionIntroduction
2 of 32 of 3
• Eadweard Muybridge captured
photographs of a horse trotting with
the use of a trip wire.
• Thomas Edison and W. K. Laurie
Dickson invented the Kinetoscope,
which used celluloid film to produced
images that could "move" by being
advanced on a roll.

8. Eadweard Muybridge, Annie G., Cantering, Saddled.
December 1887. Collotype print, sheet 19 × 24-1/8", image 7-1/4 × 16-1/4".
Philadelphia Museum of Art.
1962-135-280. © 2015. Photo Philadelphia Museum of Art/Art Resource/Scala, Florence.
[Fig. 11-2]

9. IntroductionIntroduction
3 of 33 of 3
• The first projected motion picture for
large audiences debuted in 1895.
• Soon, sound was added to film to
better simulate real life.
• The history of time-based media
involves increasing semblance to real
life.

10. Poster for the Cinématographe, with the Lumière Brothers film L'Arroseur Arrosé
(Waterer and Watered) on screen.
1895. British Film Institute.
Mary Evans/Iberfoto. [Fig. 11-3]

11. The Early History and FormalThe Early History and Formal
Foundations of PhotographyFoundations of Photography
• The photograph is a process of "instant
assemblage" and "instant collage."
• Walker Evans's Roadside Stand near
Birmingham, Alabama represented the
artist's desire to capture every aspect
of American visual reality.
• Tension between form and content is a
common theme of photography.

12. Walker Evans, Roadside Stand near Birmingham, Alabama.
1936. Library of Congress.
[Fig. 11-4]

13. Early HistoryEarly History
1 of 61 of 6
• A darkened room called a camera
obscura was used by artists to create
nature accurately in the sixteenth
century.
 A small hole shows a ray of light that
projects a scene upside-down on the the
opposite wall.
 While it could capture an image, it could
not independently preserve it; artists
traced on canvas or paper.

14. The first published illustration of a camera obscura observing a solar eclipse.
Published in 1544 by Dutch cartographer and mathematician Gemma Frisius. Woodcut.
Bridgeman Images. [Fig. 11-5]

15. Early HistoryEarly History
2 of 62 of 6
• William Henry Fox Talbot used paper
coated with light-sensitive chemicals to
produce photogenic drawings.
• Independently in France, a process
yielding a positive image on a polished
metal plate was called the
daguerrotype.
 It was so realistic that it was declared
"Painting is dead!"

16. William Henry Fox Talbot, Mimosoidea Suchas, Acacia.
ca. 1841. Photogenic drawing. National Media Museum, Bradford, U.K.
1937-366/14. National Media Museum/Science & Society Picture Library. [Fig. 11-6]

17. Louis-Jacques-Mandé Daguerre, Le Boulevard du Temple.
1839. Daguerreotype. Bavarian National Museum, Munich.
© Corbis. [Fig. 11-7]

18. Early HistoryEarly History
3 of 63 of 6
• The popularity of the daguerrotype
made portraits available to more than
just the upper classes, who would have
been able to afford painted portraits.
• However, its disadvantages involved
preparation, time, and utmost care; it
also could not be reproduced.

19. Early HistoryEarly History
4 of 64 of 6
• Talbot's method of calotype, or
exposing sensitized paper to light,
became the basis of modern
photography.
 His photograph, The Open Door, shows
how photography became a work of art
in its own right.

20. Henry Fox Talbot, The Open Door.
1843. Calotype. National Museum of Photography, London.
Digital image courtesy of Getty's Open Content Program. [Fig. 11-8]

21. Early HistoryEarly History
5 of 65 of 6
• Frederick Archer introduced a wet-
plate collodion process in 1850.
 It was a cumbersome process but had
short exposure time.
• Julia Margaret Cameron set up a studio
in her chicken coop and photographed
many influential British men.
 The Portrait of Thomas Carlisle was an
attempt to capture the inner man.

22. Julia Margaret Cameron, Portrait of Thomas Carlyle.
1863. Albumen print, 14-7⁄16 × 10-3⁄16". The J. Paul Getty Museum.
Digital image courtesy of Getty's Open Content Program. [Fig. 11-9]

23. Early HistoryEarly History
6 of 66 of 6
• Photographs of war were first published
during the Crimean War.
• A Harvest of Death, Gettysburg,
Pennsylvania, July 1863 is a
condemnation of the horrors of war.
 Both foreground and background are
blurred to draw attention to the corpses.

24. Timothy O'Sullivan (negative) and Alexander Gardner (print), A Harvest of Death,
Gettysburg, Pennsylvania, July 1863, from Gardner's Photographic Sketchbook of the War.
1866. Albumen silver print (also available as a stereocard), 6-1/4 × 7-13⁄16". The Library
of Congress. [Fig. 11-10]

25. Form and ContentForm and Content
1 of 41 of 4
• By emphasizing formal elements over
representation, an artist can
underscore the abstract nature of
photographs.
• The Steerage by Alfred Stieglitz
portrays the artist's interest in spatial
relations.
 The photo's geometry was inspired by
the work of Charles Sheeler.

26. Alfred Stieglitz, The Steerage.
1907. Photogravure, 12-5/8 × 10-3/16". Museum of Modern Art, New York.
Provenance unknown, 526.1986. © 2015. Digital image, Museum of Modern Art, New
York/Scala, Florence. © 2015 Georgia O'Keeffe Museum/Artists Rights Society (ARS),
New York. [Fig. 11-11]

27. Form and ContentForm and Content
2 of 42 of 4
• Sheeler's task in his photographs of the
Ford factory was to aestheticize the
plant.
• The Farm Security Administration
funded fifteen photographers to
document the plight of farmers after
the Great Depression.
 Walker Evans captured heroism in his
subjects for Let Us Now Praise Famous
Men.

28. Charles Sheeler, Criss-Crossed Conveyors—Ford Plant.
1927. Gelatin silver print, 10 × 8". Museum of Fine Arts, Boston.
© Lane Collection. Courtesy Museum of Fine Arts, Boston. [Fig. 11-12]

29. Walker Evans, Alabama Tenant Farmer's Kitchen (Washstand with View into Dining Area
of Burroughs Home, Hale County, Alabama).
1936. 35mm photograph.
Courtesy of Library of Congress. Image copyright Walker Evans Archive, Metropolitan
Museum of Art, New York. [Fig. 11-13]

30. Form and ContentForm and Content
3 of 43 of 4
• An-My Lê's series of photographs, 29
Palms, shows soldiers preparing for
deployment to Afghanistan and Iraq.
 Her work deals with reenactments of
war through training exercises;
O'Sullivan's work was similarly staged to
heighten the dramatic effect of the
image.

31. An-My Lê, 29 Palms: Night Operations III.
2003–04. Gelatin silver print, 26 × 37-1/2".
© An-My Lê, courtesy of Murray Guy, New York. [Fig. 11-14]

32. Form and ContentForm and Content
4 of 44 of 4
• Henri Cartier-Bresson discussed the
relationship between form and content
to the instant composition allowed by
photographs.
 Athens shows a second story Classical-
style facade above two women walking
past on the street below.
 Imagine how the artist might have spied
the location and waited for the subjects
to appear at the "decisive moment."

33. Henri Cartier-Bresson, Athens.
1953.
Magnum Photos, Inc. [Fig. 11-15]

34. The Photographic Print and itsThe Photographic Print and its
ManipulationManipulation
1 of 21 of 2
• Fred Archer developed the Zone
System for darkrooms.
 A zone represents the relation of the
image's brightness to the value the
photographer wishes it to appear in the
final print.
 He also adjusted his camera's aperture
to establish the desired luminescence
prior to taking the photograph.

35. The Photographic Print and itsThe Photographic Print and its
ManipulationManipulation
2 of 22 of 2
• Dodging is a technique that decreases
the exposure of selected areas the
photographer wishes to be lighter.
• Burning increases the exposure to
areas of the print that should be
darker.
• Moonrise, Hernandez, New Mexico
features both of these techniques to
create the feeling of a changing world.

36. Ansel Adams, Moonrise, Hernandez, New Mexico.
1941. Gelatin silver print, 18-1/2 × 23".
© Ansel Adams Publishing Rights Trust/Corbis. [Fig. 11-16]

37. Color and Digital PhotographyColor and Digital Photography
1 of 61 of 6
• Color was associated with advertising
and was ignored by fine art
photographers until the 1960s.
• Gary Alvis, who worked with both color
and black-and-white, maintained the
tension in The Painted Hills with cool
and warm colors.

38. Gary Alvis, The Painted Hills, John Day Fossil Beds National Monument, Oregon.
2008. Six-stitch Cibachrome print, dimensions variable.
© Gary Alvis. [Fig. 11-17]

39. Color and Digital PhotographyColor and Digital Photography
2 of 62 of 6
• The Darkroom as Laboratory: Jerry
Uelsmann's Untitled
 Uelsmann considers photography to be
about what happens after an image is
captured on film rather than the
moment it is photographed.
 He fits images from his contact sheets
together in the darkroom, creating
nearly surrealist landscapes.

40. Jerry Uelsmann, Untitled (rock component).
© 1970 Jerry N. Uelsmann. [Fig. 11-18]

41. Jerry Uelsmann, Untitled (tree component).
© 1970 Jerry N. Uelsmann. [Fig. 11-19]

42. Jerry Uelsmann, Untitled (hands component).
© 1970 Jerry N. Uelsmann. [Fig. 11-20]

43. The Creative ProcessThe Creative Process
• The Darkroom as Laboratory: Jerry
Uelsmann's Untitled
 Formal relations among elements
influence his decisions most.
 The second version of Untitled features
hands echoing the lines of the mountain
in the background.
• In the artist's words, it is "obviously
symbolic, but not symbolically obvious."

44. Jerry Uelsmann, Untitled (first version).
© 1970 Jerry N. Uelsmann. [Fig. 11-21]

45. Jerry Uelsmann, Untitled (second version).
© 1970 Jerry N. Uelsmann. [Fig. 11-22]

46. Color and Digital PhotographyColor and Digital Photography
3 of 63 of 6
• Nan Goldin worked primarily in color
because she could not get access to a
darkroom.
 Goldin shot her photographs indoors in
artificial light to enhance the vibrancy of
the colors.
 In Vivienne in the green dress, blues
and greens contrast with the red of the
subject's lips and bangle as well as red-
orange leaves in the vase.

47. Nan Goldin, Vivienne in the green dress.
1980.
Courtesy of Matthew Marks Gallery. [Fig. 11-23]

48. Color and Digital PhotographyColor and Digital Photography
4 of 64 of 6
• The rise of color photography coincided
with the growing popularity of the color
television.
 Polaroid cameras and inexpensive
processing for Kodak film contributed to
this movement.
• Today, digital technologies transform
photography into a highly manipulable
medium.

49. Color and Digital PhotographyColor and Digital Photography
5 of 65 of 6
• Andreas Gursky's Ocean II is a
sweeping view of the world's oceans
made from high-definition satellite
photographs.
 The cloudless parts of the oceans and
land had to be generated digitally.
 The image is disconcerting, like an
inside-out atlas where oceans are edged
by land.

50. Andreas Gursky, Ocean II.
2010. Chromogenic print, 11' 2-1/4" × 8' 2-1/8" × 2-1/2".
© 2015 Andreas Gursky/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn.
[Fig. 11-24]

51. Color and Digital PhotographyColor and Digital Photography
6 of 66 of 6
• Constructing Helen from Helen's
Odyssey features an enlarged model
Helen transformed to gigantic
proportions.
 It parodies academic paintings like
Alexandre Cabanel's Birth of Venus.

52. Eleanor Antin, Constructing Helen, from the series Helen's Odyssey.
2007. Chromogenic print, 5' 8" × 16' 7".
Courtesy of the artist and Ronald Feldman Fine Arts, New York. [Fig. 11-25]

53. Alexandre Cabanel, The Birth of Venus.
1863. Oil on canvas, 4' 4" × 7' 6". Musée d'Orsay, Paris.
Inv. RF273. Photo © RMN-Grand Palais (musée d'Orsay)/Hervé Lewandowski.
[Fig. 11-26]

54. FilmFilm
1 of 51 of 5
• Cubist painter Fernand Léger created
the film Ballet Mécanique to study a
number of images repeated again and
again in film.
• Assembling a film through editing is a
kind of linear collage.
 The first great master of editing was D.
W. Griffith, who invented a filmmaking
vocabulary in The Birth of a Nation.

55. Fernand Léger, Ballet Mécanique.
1924. The Humanities Film Collection, Oregon State University.
© 2015 Artists Rights Society (ARS), New York/ADAGP, Paris. [Fig. 11-27]

56. Battle scene from The Birth of a Nation, directed by D. W. Griffith.
1915.
[Fig. 11-28]

57. FilmFilm
2 of 52 of 5
• Shots
 A full shot shows an actor from head to
toe.
 A medium shot shows the waist up.
 A close-up shows the head and
shoulders.
 An extreme close-up shows a portion
of the face.
 A long shot shows a wide expanse.

58. FilmFilm
3 of 53 of 5
• Shots
 The iris shot opens a scene with a
widening circle and closes it by shrinking
the circle back down.
 The pan, or panoramic vista, moves the
camera from one side of the scene to
the other.
 A traveling or tracking shot moves
the camera parallel to the action.

59. FilmFilm
4 of 54 of 5
• A flashback involves narrative
episodes that took place before the
start of the film.
• Cross-cutting is an editing technique
that moves focus back and forth
between two scenes at an ever faster
pace.

60. FilmFilm
5 of 55 of 5
• Another great innovator in film was
Sergei Eisenstein, who utilized the
montage to create a multifaceted
narrative.
 Battleship Potemkin is based on an
unsuccessful uprising against the
Russian monarchy in 1905.
• Douglas Gordon's extremely slow-
motion film 24 Hour Psycho is a
contrast to the montage.

61. Sergei Eisenstein, Battleship Potemkin.
1925. Film still.
Goskino/Kobal Collection. [Fig. 11-29a]

62. Sergei Eisenstein, Battleship Potemkin.
1925. Film still.
Goskino/Kobal Collection. [Fig. 11-29b]

63. Sergei Eisenstein, Battleship Potemkin.
1925. Film still.
Goskino/Kobal Collection. [Fig. 11-29c]

64. Sergei Eisenstein, Battleship Potemkin.
1925. Film still.
Goskino/Kobal Collection. [Fig. 11-29d]

65. Douglas Gordon, 24 Hour Psycho.
1993.
Photo: Studio lost but found (Bert Rossi), Courtesy of Gagosian Gallery © Douglas
Gordon. From Psycho, 1960, USA. Directed and produced by Alfred Hitchcock,
Distributed by Paramount Pictures Universal City Stuidoes, Inc. [Fig. 11-30]

66. The Popular CinemaThe Popular Cinema
1 of 31 of 3
• Audiences of popular cinema expect an
entertaining narrative.
• Charlie Chaplin was one of the greatest
Hollywood stars, merging humor with
a sympathetic character in the silent
film The Gold Rush.
• By 1939, Hollywood had reached a
zenith and produced films in a variety
of genres.

67. Charlie Chaplin in The Gold Rush.
1925. United Artists.
Everett Collection. [Fig. 11-31]

68. The Popular CinemaThe Popular Cinema
2 of 32 of 3
• Citizen Kane was esteemed as featuring
a wide variety of editing effects unique
to film at the time.
• Before the production of Gone with the
Wind, art director William Cameron
Menzies spent two years creating
storyboards for each of the movie's
scenes.

69. Orson Welles in Citizen Kane.
1941.
Kobal Collection. Citizen Kane © 1941 RKO Pictures, Inc. All rights reserved. [Fig. 11-32]

70. William Cameron Menzies, Storyboard for the burning-of-Atlanta scene from Gone with
the Wind.
1939.
MGM/Photofest. [Fig. 11-33]

71. Burning-of-Atlanta scene from Gone with the Wind.
1939.
MGM/Photofest. [Fig. 11-34]

72. The Popular CinemaThe Popular Cinema
3 of 33 of 3
• The studio of Walt Disney produced
animated films featuring up to 24
drawings per each second of film time.
• After World War II, directors were
viewed as the auteurs of their works.
 Federico Fellini, Ingmar Bergman, Jean-
Luc Godard, and Alan Resnais
• Star Wars inaugurated a new era of
"blockbuster" Hollywood films.

73. Video ArtVideo Art
1 of 91 of 9
• The more sophisticated the techniques
used to produce a film, the more
expensive it is.
 Artists were more easily able to work
with film when the handheld video
camera was introduced in 1965.
• Nam June Paik used altered televisions
in his large-scale installations that
explore film.

74. Video ArtVideo Art
2 of 92 of 9
• Megatron/Matrix featured 215 monitors
programmed with live video images
from the Seoul Olympic games and
animated montages.
• Video Flag was created as three
separate flag sculptures.
 Over time, parts for maintaining the
video monitors became obsolete and
were replaced by new technology.

75. Nam June Paik, Video Flag.
1985–96. Seventy video monitors, 4 laser-disk players, computer, timers, electrical
devices, wood and metal housing on rubber wheels, 7' 10-3/8" × 11' 7-3/4" × 47-3/4".
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.
Holenia Purchase Fund, in memory of Joseph H. Hirshhorn, 1996. Photo: Lee Stalsworth.
© Estate of Nam June Paik. [Fig. 11-35]

76. Video ArtVideo Art
3 of 93 of 9
• Bruce Nauman explored "real" time in
his Live-Taped Video Corridor, in which
viewers inched down a narrow hallway
toward two monitors that recorded
their own image.
 This mimicked the proliferation of CCTV
systems in the U.S. by the early 1970s.

77. Bruce Nauman, Live-Taped Video Corridor.
1970. Wallboard, video camera, two video monitors, videotape player, and vide-otape,
dimensions variable. Solomon R. Guggenheim Museum, New York. Installation view:
1970 Annual Exhibition of Contemporary American Sculpture, Whitney Museum of
American Art, New York, December 12, 1970–February 7, 1971.
Panza Collection, Gift, 92.4165 © 2015 Bruce Nauman/Artists Rights Society (ARS), New
York. [Fig. 11-36]

78. Video ArtVideo Art
4 of 94 of 9
• Chris Burden's Shoot exploited the
"truth factor" of video works.
 A fellow student fired a rifle at him from
halfway across the gallery; rather than
grazing his skin, the bullet produced a
more serious wound.
 Only 8 seconds of the film remained in
the video work.

79. Chris Burden, Shoot.
1974. Still. Videotape of a 1971 performance, approx. 2 min. 15 sec.
Courtesy of Electronic Arts Intermix (EAI), New York. © Chris Burden. [Fig. 11-37]

80. Video ArtVideo Art
5 of 95 of 9
• Dara Birnbaum explored sexist
representations of women in her video
Technology/Transformation: Wonder
Woman.
 Sequences from an episode of the TV
show featuring Linda Carter were
repeated.

81. Dara Birnbaum, Technology/Transformation: Wonder Woman.
1978–79. Still. Video, approx. 5 min. 16 sec.
Courtesy of Electronic Arts Intermix (EAI), New York. [Fig. 11-38]

82. Video ArtVideo Art
6 of 96 of 9
• William Wegman created works that
challenged the authority of the visual
experience.
 Deodorant featured the artist spraying
an entire can of deodorant under one
armpit while extolling its virtues.
 Rage and Depression featured the artist
reciting a monologue about shock
therapy while smiling.

83. William Wegman, Rage and Depression, Reel 3.
1972–73. Still. Video, approx. 1 min.
Courtesy of the artist. [Fig. 11-39]

84. Video ArtVideo Art
7 of 97 of 9
• Gary Hill's Crux consists of five
television monitors in the shape of a
cross that play video of the artist
trekking through a deserted island, a
representation of Christ's journey.
• Some archival footage is becoming
increasingly available, but most
contemporary works are available only
at museums and galleries.

85. Gary Hill, Crux.
1983–87. Five-channel video installation (NTSC, color, sound), 5 video monitors, 5 speakers,
1 synchronizer. Hamburger Bahnhof–Museum für Gegenwart, Nationalgalerie, Berlin.
Inv. FNG 68/93. Photo: Jens Ziehe. © 2015. Photo Scala, Florence/bpk, Bildagentur für
Kunst, Kultur und Geschichte, Berlin. © 2015 Gary Hill/Artists Rights Society (ARS), New
York. [Fig. 11-40]

86. Video ArtVideo Art
8 of 98 of 9
• Bill Viola has released his early works
on DVD.
 The Reflecting Pool, a seven-minute
film, features a stationary camera that
allowed the artist to create three
separate recordings and overlap them.
 Some aspects of the film are dissolved,
some real-time, and some reverse
motion.

87. Bill Viola, The Reflecting Pool.
1977–79. Still. Video, color, mono sound, 7 min.
Bill Viola Studio LLC. Photos: Kira Perov. [Fig. 11-41a]

88. Bill Viola, The Reflecting Pool.
1977–79. Still. Video, color, mono sound, 7 min.
Bill Viola Studio LLC. Photos: Kira Perov. [Fig. 11-41b]

89. Bill Viola, The Reflecting Pool.
1977–79. Still. Video, color, mono sound, 7 min.
Bill Viola Studio LLC. Photos: Kira Perov. [Fig. 11-41c]

90. Bill Viola, The Reflecting Pool.
1977–79. Still. Video, color, mono sound, 7 min.
Bill Viola Studio LLC. Photos: Kira Perov. [Fig. 11-41d]

91. Video ArtVideo Art
9 of 99 of 9
• Der Lauf der Dinge (The Way Things
Go) by artists Peter Fischli and David
Weiss is widely available.
 A kinetic sculptural installation activates
over a 30-minute sequence, including a
series of physical and chemical chain
reactions.
 It serves as both a metaphor for
Western culture and a slapstick comedy
of errors.

92. Peter Fischli and David Weiss, Der Lauf der Dinge (The Way Things Go).
1987. Still. 16 mm color film, 30 min.
© Peter Fischli David Weiss, Courtesy of Matthew Marks Gallery. [Fig. 11-42a]

93. Peter Fischli and David Weiss, Der Lauf der Dinge (The Way Things Go).
1987. Still. 16 mm color film, 30 min.
© Peter Fischli David Weiss, Courtesy of Matthew Marks Gallery. [Fig. 11-42b]

94. The Computer and New MediaThe Computer and New Media
1 of 21 of 2
• To make The Reflecting Pool, Bill Viola
used the CMX 600 to escape the
necessity of editing in chronologically.
• Digital nonlinear editing programs
followed Avid's Media Composer system
in 1989.
• CGI technology has since been
integrated into many digital video
works.

95. The Computer and New MediaThe Computer and New Media
2 of 22 of 2
• David Claerbout's Selections of a Happy
Moment is a video generated by
computers that at first appears to be a
slideshow of shots taken
simultaneously.
 The artist worked from more than
50,000, choosing only 180 images into
the background scenes.
 Viewers are caught in a paradoxical
representation of time.

96. David Claerbout, Sections of a Happy Moment.
2007. Stills. Single-channel video projection, 1920 × 1600 hd progressive, black-and-
white, stereo audio, 25 min. 57 sec.
Courtesy of Galerie Micheline Szwajcer, Brussels and Sean Kelly, New York. [Fig. 11-43]

97. The Creative ProcessThe Creative Process
1 of 21 of 2
• Revisioning a Painting as Video: Bill
Viola's The Greeting
 Inspired by Jacopo da Pontormo's The
Visitation, Viola created Buried Secrets
about hidden emotions.
• The element that stood out the most to
him was a look of understanding between
two women in the street of Pontormo's
painting.

98. Bill Viola, Sketch for the set of The Greeting.
1995.
Bill Viola Studio LLC. Photo: Kira Perov. [Fig. 11-44]

99. Jacopo da Pontormo, The Visitation.
1528. Oil on canvas, 6' 7-1/2" × 5' 1-3/8". Pieve di S. Michele, Carmignano, Italy.
Canali Photobank, Milan, Italy. [Fig. 11-45]

100. Bill Viola, The Greeting.
1995. Video/sound installation for the exhibition Buried Secrets. United States Pavilion,
Venice Biennale, 1995. Arizona State University Art Museum, Tempe.
Bill Viola Studio LLC. Performers: Angela Black, Suzanne Peters, Bonnie Snyder. Photo:
Kira Perov. [Fig. 11-46]

101. The Creative ProcessThe Creative Process
2 of 22 of 2
• Revisioning a Painting as Video: Bill
Viola's The Greeting
 Viola recreated sketches of a street for
the setting of his video.
 Ten slow-motion minutes capture the
moment, never shifting point of view.
 A final decision was projecting it onto a
wall rather than using a screen.

102. Cao Fei, RMB City, in Art in the Twenty-First Century, season 5 episode, "Fantasy".
2009. Production still. Segment: Cao Fei.
© Art 21, Inc. 2009. [Fig. 11-47]

103. The Critical ProcessThe Critical Process
• Thinking about Photography and Time-
Based Media
 A Sudden Gust of Wind is modeled on a
Hokusai print but dramatically
transforms the scene into a billboardlike
depiction.
 Jeff Wall's format is meant to invoke
cinema and was carefully shot over the
course of five months.

104. Jeff Wall, A Sudden Gust of Wind (After Hokusai).
1993. Transparency in lightbox, 7' 6-3⁄16" × 12' 4-7⁄16". Tate Gallery, London.
Courtesy of the artist. [Fig. 11-48]

105. Hokusai, Sunshu Ejiri, from the series Thirty-Six Views of Mount Fuji.
ca. 1830–32. Polychrome woodblock print, ink and color on paper, 9-7/8 × 14-3/4".
Metropolitan Museum of Art, New York.
Henry L. Phillips Collection, Bequest of Henry L. Phillips, 1939, JP2953. © 2015. Image
copyright Metropolitan Museum of Art/Art Resource/Scala, Florence. [Fig. 11-49]

106. Thinking BackThinking Back
1 of 31 of 3
1. Describe the origins of photography
and the formal principles that most
inform it.
2. Describe how color and digital
technologies have transformed
photographic practice.

107. Thinking BackThinking Back
2 of 32 of 3
3. Outline the basic principles of film
editing, including montage, as well as
the technological developments that
advanced the medium.
4. Outline some of the ways that video
art has exploited the immediacy of the
medium while at the same time
critiquing popular culture.

108. Thinking BackThinking Back
3 of 33 of 3
5. Discuss some of the technological
innovations that have advanced time-
based art into the digital age.