31:, DVD player or computer) and exhibited using a television monitor, projection or other screen-based device. Historically, video art was limited to unedited video tape footage displayed on a television monitor in a gallery and was conceptually contrasted with both broadcast television and film projections in theatres. As technology advanced, the ability to edit and display video art provided more variations and
67:
monitor to any work produced from a single electronic source or, in fact, any work consisting of a single moving image regardless of source. Single-channel works that are produced explicitly for playback on a monitor are primarily concerned with narrative or directly addressing the audience rather than providing an immersive experience found in installation works.
53:
Artists began working with video technology in the 1960s. The earliest works used television sets as sculptural objects but by the late 1960s video recorders became readily available and artists began experimenting with the potential to record performances and conceptual works addressing the medium
66:
model. Unlike film, however, the gallery became the primary venue for video art. As multiple channels became possible, artists continued to work in single-channel, exhibiting in a number of venues beyond the gallery and the term single-channel video has expanded from a video tape played back on a
54:
itself and critiquing broadcast television and commercial film. As more artists worked with video as a medium the problem of exhibition arose. Not being able to project the image as with film, the playback of video tapes was left to monitors placed in galleries and
35:
works became possible as did multi-channel and multi-layered video installations. However, single-channel video works continue to be produced for a variety of aesthetic and
172:
228:
Morse, Margaret. "Video installation art: the body, the image, and the space-in-between." Illuminating video: An essential guide to video art (1990): 477-486.
99:
184:, . "Busting the tube: A brief history of video art." Feedback: The Video Data Bank Catalogue of Video Art an Artist Interviews (2006): 7-17.
23:
work using a single electronic source, presented and exhibited from one playback device. Electronic sources can be any format of video tape,
58:. Theoretically and commercially, the video tape created problems as tapes were easily duplicated, with no "original" (although a
39:
reasons and the term usually now refers to a single image on a monitor or projection, regardless of image source or production.
286:
121:
325:
88:
77:
110:
208:
320:
305:
194:
132:
291:
Marks, Laura U. "Immersed in the single channel: Experimental media from theater to gallery."
282:
143:
63:
215:. Documentation and Conservation of Media Arts Heritage (DOCAM)/The DOCAM Research Alliance.
59:
55:
27:
or computer-generated moving images utilizing the applicable playback device (such as a
36:
62:
did usually exist). Video cooperatives and distribution centres emerged following the
314:
148:
126:
115:
93:
82:
197:. EAI Online Resource Guide for Exhibiting, Collecting & Preserving Media Art.
272:
Video re/View: The (best) Source for
Critical Writings on Canadian Artists' Video
104:
137:
48:
20:
263:
Furlong, Lucinda. “Notes Toward a
History of Image Processed Video”
24:
28:
306:
History and overview of single-channel video and practices
238:
Krauss, Rosalind. "Video: The
Aesthetics of Narcissism".
173:"Busting the tube: A brief history of video art"
281:, 1968-1990. Amherst, NY: Cambria Press, 2009.
8:
260:. New York: I.B. Tauris & Co Ltd., 2005.
166:
164:
279:The Problematic of Video Art in the Museum
224:
222:
160:
100:Birthday Suit – with scars and defects
274:. Toronto: Art Metropole/VTape, 1996.
209:"Glossaurus - "Single-channel video""
7:
270:Gale, Peggy and Lisa Steele, eds.
71:Notable single-channel video works
14:
171:Horsfield, Kate (2017-07-23).
1:
122:Kiss The Girls: Make Them Cry
342:
89:Television Delivers People
46:
258:Video Art, A Guided Tour
242:(Spring, 1976 ed.).
111:Semiotics of the Kitchen
293:Millennium Film Journal
195:"Single-channel Video"
56:alternative art spaces
17:Single-channel video
33:multi-channel video
256:Elwes, Catherine.
182:. Video Data Bank.
144:Me & Rubyfruit
133:Reverse Television
326:Visual arts media
277:Manasseh, Cyrus.
64:experimental film
333:
244:
243:
235:
229:
226:
217:
216:
205:
199:
198:
191:
185:
183:
177:
168:
147:(1989 or 1990),
341:
340:
336:
335:
334:
332:
331:
330:
311:
310:
302:
253:
251:Further reading
248:
247:
237:
236:
232:
227:
220:
207:
206:
202:
193:
192:
188:
175:
170:
169:
162:
157:
73:
51:
45:
12:
11:
5:
339:
337:
329:
328:
323:
313:
312:
309:
308:
301:
300:External links
298:
297:
296:
295:(2012): 14–23.
289:
275:
268:
261:
252:
249:
246:
245:
230:
218:
200:
186:
159:
158:
156:
153:
152:
151:
140:
129:
118:
107:
96:
85:
72:
69:
47:Main article:
44:
41:
13:
10:
9:
6:
4:
3:
2:
338:
327:
324:
322:
319:
318:
316:
307:
304:
303:
299:
294:
290:
288:
284:
280:
276:
273:
269:
266:
262:
259:
255:
254:
250:
241:
234:
231:
225:
223:
219:
214:
210:
204:
201:
196:
190:
187:
181:
174:
167:
165:
161:
154:
150:
149:Sadie Benning
146:
145:
141:
139:
135:
134:
130:
128:
127:Dara Birnbaum
124:
123:
119:
117:
116:Martha Rosler
113:
112:
108:
106:
102:
101:
97:
95:
94:Richard Serra
91:
90:
86:
84:
80:
79:
78:Double Vision
75:
74:
70:
68:
65:
61:
57:
50:
42:
40:
38:
34:
30:
26:
22:
18:
292:
278:
271:
267:11:5 (1983).
264:
257:
239:
233:
213:www.docam.ca
212:
203:
189:
179:
142:
131:
120:
109:
98:
87:
83:Peter Campus
76:
52:
32:
16:
15:
180:www.vdb.org
105:Lisa Steele
315:Categories
287:1604976500
265:Afterimage
155:References
138:Bill Viola
37:conceptual
321:Video art
49:video art
21:video art
136:(1983),
125:(1979),
114:(1975),
103:(1974),
92:(1973),
81:(1971),
240:October
43:History
285:
60:master
176:(PDF)
19:is a
283:ISBN
25:DVDs
29:VCR
317::
221:^
211:.
178:.
163:^
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.