Abstract Video: The Moving Image in Contemporary Art by Gabrielle Jennings, Kate Mondloch

By Gabrielle Jennings, Kate Mondloch

delivering old and theoretical positions from quite a few paintings historians, artists, curators, and writers, this groundbreaking assortment is the 1st substantive sourcebook on abstraction in moving-image media. With a selected specialise in artwork in view that 2000, Abstract Video addresses an extended historical past of experimentation in video, internet paintings, install, new media, elevated cinema, visible track, and experimental movie. Editor Gabrielle Jennings—a video artist herself—reveals as by no means sooner than how works of summary video aren't only, because the popular curator Kirk Varnedoe as soon as positioned it, “pictures of nothing,” yet quite amorphous, ungovernable areas that motivate contemplation and innovation. In explorations of the paintings of celebrated artists reminiscent of Jeremy Blake, Mona Hatoum, Pierre Huyghe, Ryoji Ikeda, Takeshi Murata, Diana Thater, and Jennifer West, along rising artists, this quantity offers clean and energetic views on a burgeoning and ever-changing area of up to date art.

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2 Specific sections or subsections from the Synopsis were selected for each “campaign” associated with The Second Investigation, typographically transcribed (as necessary), and then relocated into one of more than half a dozen media delivery systems, either by a process of standard submission (such as advertising copy for newspapers and magazines) or by enlargement and reformatting (for display on billboards, for example)—​in all cases with the least possible “artistic” interference. 1 (left) Joseph Kosuth, 15 Locations, 1969/70, Joseph Kosuth, Art as Idea as Idea (1966–​1970), poster describing exhibition, Douglas Gallery archives.

This engagement in the temporality of the screening process and the direct acknowledgment of the viewer also come into play in the work of artists working in video from the early 1960s to the present. ” 3 Here Vostell enjoins the viewer to participate in disrupting the flow of television entertainment by covering the screen and making it into an abstract, fractured image. Fluxus and happening events in the early 1960s, when artists first appropriated the television set into their artmaking, also extended to altering the electronic patterns of the cathode ray tube.

Maria-Christina Villaseñor’s essay “Spectral Projections: Color, Race & Abstraction in the Moving Image” (chapter 13) looks through Paul Pfeiffer’s Home Movie / Four Locations for a Home Movie (2012), Cory Arcangel’s Colors (2006), Rico Gatson’s The Promise of Light (2013), and Ariel Jackson’s Here’s Hoping (AKA The Blues; 2013) to form a theory of electronic color that illustrates the complex ways that media artists are using color as an abstract sign. The Abstract, like the Beautiful and the Sublime, appears from out of nowhere, as if from a dream, formless and evasive, surprising and obscure.

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