Video Art Part 2

Dan Graham

Body Press

1972film

Dan Graham«Body Press»Film installation of two synchronized silent 16mm-film projections, color, 8'.

Two filmmakers stand within a surrounding and completely mirrorized cylinder, body trunk stationary, hands holding and pressing a camera's back-end flush to, while slowly rotating it about, the surface cylin-der of their individual bodies. One rotation circumscribes the body's contour, spiralling slightly upward with the next turn. With successive rotations, the body surface areas are completely covered as a template by the back of the camera(s) until eye-level (view through camera's eyes) is reached; then a reverse mapping downward begins until the original starting point is reached. The rotations are at a correlated speed; when each camera is rotated to each body's rear it is then facing and film-ing the other where they are exchanged so the camera's ‹identity› ‹changes hands› and each performer is handling a new camera. The cameras are of different size and mass. In the process, the performers are to concentrate on the coexistent, simultaneous identity of both camera's describing them and their body. (The camera may/or may not be read as an extension of the body's identity.) Optically, the two cameras film the Image reflected on the mirror which is the same surface as the box (and lens) of the cam-era's five visible sides, the body of the performer, and (possibly) his eyes on the mirror (In projection what is seen by the spectator).The camera's angle of orientation/view of the area of the mirror's reflective image is determined by the placement of the cam-era on the body contour at a given moment. (The camera might be pressed against the ehest but such an upward angle shows head and eyes). To the spectator the camera's optical vantage is the skin. (An exception is when the performer's eyes are also seen reflected or the cameras are seen filming the other). The performer's musculature is 'seen' pressing into the surface of the body (pulling inside out). At the same time, kinesthetically, the handling of the camera can be 'felt', by the spectator, as surfacetension, as the hidden side of the camera presses and slides against the skin it cov-ers at a particular moment. The films are projected at the same time on two loop projectors, very large size on two opposite, but very close, room walls. A member of the audience (man or woman) might identify with one image or the other from the same camera or can identify with one body or the other, shifting their view each time to face the other screen when the cameras are exchanged.

William Wegman

Early Work (excerpts): http://www.dailymotion.com/video/xaeydy_william-wegman-early-videos2_creation#

1970video recorded on Sony CV 1/2” open reel to reel

Peter Campus

Three Transitions

1973video

Dara BirnbaumTechnology/Transformation: Wonder Woman

1978video

Gary Hill

Wall Piece (2000) http://www.sfmoma.org/explore/multimedia/videos/223

Crux (1983 – 87) http://www.mediaartnet.org/works/crux/

Postings on Crux: http://nonsenselab.tumblr.com/post/9960254331/gary-hill-crux-1983-1987-video-installation

Clip with artist voice over on “Crux” like piece: http://www.madisonartshop.com/lib/madisonartshop/33230.wmv

SFMOMA compilation: http://www.sfmoma.org/explore/multimedia/interactive_features/11#

Adrian Piper

Cornered

1988video monitor, table, birth certificates

Peter Fischli + David Weiss

The Way Things Go (Der Lauf Der Dinge)

1987video29 minutes, 40 seconds

Bill Viola

Heaven and Earth1992Video and two facing cathode ray tubes

The boundary between life and death is a strong theme that runs through some of his work, notably Heaven and Earth (1992). A white column rises from the floor to the ceiling, divided in the middle by two television screens that face each other. The lower screen shows a close-up image of a new-born baby, only days old while the upper screen shows a close-up image of an old woman, hospitalized and in the last week of her life. The glass screens of the television monitors allow both of the images to be reflected in the other: birth and death infuse each other. The monitors are exposed cathode ray tubes, attached to the columns only by four thin metal bars. This exposure of the fragile technology comes across as a strong metaphor for the fragility of human body and was a deliberate conceptual link that Viola aimed to present.

--Ashley Rawlings (2006)

Bill Viola

Nantes Triptych

1992video installation

Bill Viola

Ocean without a Shore

2007

Church of San Gallo, Venicecolor high-definition video triptych, two 65 in. plasma screens, one 103 in. screen mounted vertically, six loudspeakers (three pairs stereo sound)

Bill Viola

Ocean without a Shore

2007

Church of San Gallo, Venicecolor high-definition video triptych, two 65 in. plasma screens, one 103 in. screen mounted vertically, six loudspeakers (three pairs stereo sound)

Tony Oursler

Projected Video Projects

http://www.youtube.com/watch?v=BMZHMVRXsbE&feature=relatedhttp://www.youtube.com/watch?v=BMZHMVRXsbE&feature=related

Sadie BenningJollies (1992)Shot on PixelVision toy video camera

http://creative.arte.tv/en/community/sadie-benning-jollies-1992

Pipilotti RistEver Is Over All (1997)

https://www.youtube.com/watch?v=a56RPZ_cbdc

Christian Marclay

Video Quartet2002Video installation

The Clock2010Video installation synched in real time

Shirin NeshatRapture, 1999

http://vimeo.com/77076287

Still Photos, Video, and Interview http://heyokamagazine.com/HEYOKA.4.FOTOS.ShirinNeshat.htm

Video excerpt from Zarim:http://www.youtube.com/watch?v=1wNz9jK82U0

Interview on Charlie Rose (fast forward to 2nd interview)http://www.youtube.com/watch?v=Em1pwqlvMCs (August 25, 2007)

Xavier Cha

Video installation from Body mounted cameras (2011)http://whitney.org/Exhibitions/XavierChahttp://www.youtube.com/watch?v=x1T05S9dKVw

Kade Twist

For You Shall Pass Through the Water of Another

20103 Channel Video installation