Changing histories, changing practices.
An instance of confrontation between video art and television
by Marina Turco
Was video the end of all arts? Was it a particular form of communication, therefore not at all an art form? Or was it television art? Does it fit into the film world? How does it relate to music, in video clips and discos? In 1991 Pauline Terreehorst described video art as something belonging to the past, a dead art form, and–what was worse–dead before it even had been properly identified. She thought that the uncertainty about the definition and context of video art contributed to its premature fall.
Video has been a problematic matter for art historians, especially since the late 1970s, when it ceased to be an instrument of the new avant-garde ideology. Like photography and film, video technology developed in both its commercial and artistic applications. But what were the functions and characteristics of video in the art context? Why, from the mid-1970s until the 1990s, was the term ‘video art’ used to describe very different cultural products and a distinct production and distribution circuit within the art world? (…)Trackback URL