Video Art History

This essay examines the sociopolitical context in which video art emerged in the late 1960s.  Hill addresses the media theory of Marshall McLuhan and Herbert Marcuse’s concepts of personal agency and community in order to outline the political climate in which video art developed.  Given this growing convergence of calls for democratic change and the increasing awareness of the role technology would play in that democracy, Hill considers how the video medium was taken up as a tool for

Gregg Bordowitz considers the nebulous enormity of works subsumed within the category of ‘activist’ video.  He begins by discussing the role that television played as the principal antagonist for early video artists like Richard Serra and for theorists of new media like Marshall McLuhan.  Bordowitz sees McLuhan’s concept of the ‘global village,’ the new world of interconnectivity allowed by the global reach of television’s transmitted signal, as the springboard for video practitioners

In Busting the Tube, Kate Horsfield charts a history of the development of independent video practice, ranging from the video activism of the Raindance Corporation and People’s Video Theater to experimentation with the body  its operation in social space in the work of Bruce Nauman and Vito Acconci.  Seeing the rise in independent video as a response to the increasing cultural significance of television and its

Braderman’s Feminism and Video charts the development of early feminist video practice by constructing a history of the emergence of its principal ideals from within the growing women’s liberation movement and the expanding notions of gender and sexual politics during the 1960s, while also considering the changing academic mentalities and growing institutional networks that supported such alternative media practice.  Through the course of the essay, Braderman also distinguishes betwe

In Stories from a Generation, Dougherty describes her discovery of an archive of early video art done by women at the Los Angeles Woman’s Building.  She discusses the importance of this place and its archive as a resource for the female art community in the area and how the communal atmosphere of the Woman’s Building influenced the collective nature of much early video art production, and how this idea of collectivity and communal practice continues to be relevant today.