A History of Video Art is a revised and expanded edition of the 2006 original, which extends the scope of the first edition, incorporating a wider range of artists and works from across the globe and explores and examines developments in the genre of artists' video from the mid 1990s up to the present day. In addition, the new edition expands and updates the discussion of theoretical concepts and ideas which underpin contemporary artists' video.
Tracking the changing forms of video art in relation to the revolution in electronic and digital imaging that has taken place during the last 50 years, A History of Video Art orients video art in the wider art historical context, with particular reference to the shift from the structuralism of the late 1960s and early 1970s to the post-modernist concerns of the 1980s and early 1990s. The new edition also explores the implications of the internationalisation of artists' video in the period leading up to the new millennium and its concerns and preoccupations including post-colonialism, the post-medium condition and the impact and influence of the internet.
Chris Meigh-Andrews is Professor of Electronic & Digital Art and Director of the Electronic and Digital Art Unit at the University of Central Lancashire. He studied Fine Art at Goldsmiths and has a PhD from the Royal College of Art. A practising artist specialising in electronic & digital media, he has been exhibiting his videotapes, projections and installations internationally since 1978. His most recently completed work, The Monument Project (2009-2011) which produces a continuously updated time-lapse panoramic view from the top of the Monument in the City of London was commissioned by Julian Harrap Architects. In 2010 Meigh-Andrews was awarded a Diawa Foundation grant to research early artists' video in Japan.
Preface to the 2nd edition Part 1. The Origins of Video Art: The Historical and Cultural Context Chapter 1. In The Beginning: The Origins of Video Art Chapter 2. Crossing Boundaries: International Tendencies and Influences in Early Artists' Video Chapter 3. Technology, Access and Context: Social and Political Activists and Their Role in the Development of Video Art Chapter 4. Expanded Cinema: The Influence of Experimental, Avant-Garde and "Underground" Film Chapter 5. Musique Concrete, Fluxus and Tape Loops: The Influence of Sound Recording and Experimental Music on Artists' Video Chapter 6. Theory and Practice: The Impact of Theoretical Ideas on Early Technology-Based Practice in the 1970s Chapter 7. Beyond the Lens: Abstract Video Imagery and Image Processing Part 2: A Discussion of Some Representative and Influential Video Art Works Set in Relation to Their Technological and Critical Context Chapter 8. In and Out of the Studio: The Advent of Inexpensive Non-Broadcast Video Chapter 9. Cutting It: Accessible Video Editing Chapter 10. Mixing it: Electronic/Digital Image Manipulation Chapter 11. The Gallery Opens its Doors: Video Installation and Projection Chapter 12. The Ubiquity of the Video Image: Artists' Video as an International Phenomenon Part 3: The Development of Artists' Video and Installation in Response to Technological Change and Accessibility Chapter 13. Fields, Lines & Frames: Video as an Electronic Medium Chapter 14. The Means of Production: Feminism, Race, Gender, Technology and Access Chapter 15. Off the Wall: Video Sculpture and Installation Chapter 16. Going Digital: The Emergence of Digital Video Editing, Processing and Effects Chapter 17.Video Art in the New Millennium: New Developments in Artists' Video since 2000 Part 4. References * Technical Glossary * Bibliography * Index