From Performance to Video Art. Marshall McLuhan Understanding Media, first published in 1964 The period after World War-II in the US is considered the.

From Performance to Video Art

Marshall McLuhan Understanding Media, first published in 1964

The period after World War-II in the US is considered the final birth of television.  The explosion of sets into the American marketplace occurred in 1948-1949.

Robert Rauschenberg, Soundings, 1968, a 36 by 8 foot voice responsive object. Nine 8 ft high units, 3 layers deep of plexiglass panels, outer panels silvered. Visitor is reflected and the sounds she makes activate unique sounds from Soundings.

Video performance: Bruce Nauman, Stamping in the Studio, 1968,

60 minutes (excerpt, 5 minutes)

http://www.virtual-circuit.org/art_cinema/Nauman/Nauman/Stamping.html

From: Rewind: Video Art and Alternative Media in the United States 1968-1980Media N 6494.V53 S97 1995

Program 2: “Investigations of the Phenomenal World: Space, Sound, and Light”

Video performance: 1977

Martha Rosler, Vital Statistics of a Citizen, Simply Obtained38 minutes

“I did my best to interrupt voyeurism by having a long shot – a stationary shot that fatigues the viewer and diminishes aspects of the character’s presence on

the screen. It becomes boring to look at something without camera mobility and without reaction shots. (Rosler, 1981)

http://artfem.tv/id;11/action;showpage/page_type;video/page_id;vital_statistics_of_a_citizen_simply_obtained_by_martha_rosler_flv/

From: Rewind: Video Art and Alternative Media in the United States 1968-1980Media N 6494.V53 S97 1995

Program 4: Gendered Confrontations

Joseph Beuys, Siberian Symphony: First Movement, FESTUM FLUXORUM FLUXUS, performed February 1963 at the Düsseldorf Art Academy where Beuys was Professor of Monumental Sculpture

George Maciunas (Lithuanian-American (1931–1978) Fluxus Manifesto, 1963

Yoko Ono (Japan, b. 1933) Cut Piece, performance, 1964 (Japan) and (right)1965 (NYC,Carnegie Hall)

Shigeko Kubota (American b. Japan, 1937, married to Nam June Paik) Vagina Painting,performance, July 4th, 1965, New York City, Perpetual Fluxus Festival, (red paint on white paper, paint brush attached to crotch of underpants)

Nam June Paik, 1961 Fluxus Festival of New Music, Weisbaden, German

Nam June Paik (American, b. Seoul, Korea, 1932 - 2006)Zen for Head, Fluxus performance, 1962

Nam June Paik and John Cage in Marcel Duchamp and John Cage still from performance video by Shigeko Kubota, 1972

Paik, (left) Zen for TV, 1963(right) TV Buddha, 1974

Paik (left) began interfering with television imagesin the early 1960s; (right) TV Magnet, 1965

“Some day artists will work with capacitors, resistors and semi-conductors as they work today with brushes, violins and junk.” Paik

(left) Mooreman, Paik, Joseph Beuys, Fluxus Action, 1966; (left) with Yoko Ono and John Lennon (1971); (right, below) Moorman performing Paik's Concerto for TV Cello

and Videotapes (1971) at Galeria Bonino, New York, November 23, 1971

http://www.medienkunstnetz.de/works/global-grove/video/1/

Nam June Paik, Global Groove, 1974; Paik in studio of WGBH, which broadcast Global Groove

'This is a glimpse of a video landscape of tomorrow when you will be able to switch on any TV station on the earth and TV guides will be as fat as the Manhattan telephone book.'

- Paik

Nam June Paik, Video Fish, 1975, Three channel video installation with aquariums, water, 45 live Japanese fish, Pompidou Center (Paris) collection, 7 of 15

monitors

Paik, Video Flag, (1985-1996)70 video monitors, 4 laser disc players, computer, timers, electrical devices, wood and

metal housing on rubber wheels, 94 3/8 x 139 3/4 x 47 3/4 in.

Nam June Paik in collaboration with Norman Ballard, Paul Garrin, David Hartnett, and Stephen Vitiello, Modulation in Sync, 2000. Three-channel video and stereo sound

installation with 100 monitors, seven projectors, two lasers, water, mirrors, projection screens, and metal structure, variable dimensions. Paik retrospective, Guggenheim NYC

Fashion Avenue from Nam June Paik's Suite 212 series, on Seoul Square Media Canvas, 2011. For current exhibition, Mediascape, à pas de Nam June Paik, video series is

projected every night onto the huge screen 256 feet high and 325 feet wide: 42,000 LEDs

Laurie Anderson (US b. 1947)Duets on Ice, performance inNew York City and Genoa, Italy, 1973-4, playing Bach while wearing ice skates embedded in ice. When ice melted the performance ended.

Compare Edouard ManetThe Old Musician, 1862, artistas wanderer, rag picker

Laurie Anderson, Performance United States Part II, 1980The Orpheum, New York; (right) album covers United States I-IV, 1984

Laurie Anderson, United States Part I, 1980, Orpheum TheaterMultiple disjunctive narratives. Voice through the harmonizer shifts from “voice of

authority (deep, masculine) to female (her own). The woman repeatedly asks “Hello, excuse me, can you tell me where I am?” The response is “You can read the signs.”

Anderson’s United States Part I opens with her modified voice-of-authority reading:

A certain American religious sect has been looking at conditions of the world during the Flood. According to their calculations, during the Flood the winds, tides and currents were in an overall southeasterly direction. This would mean that in order for Noah's Ark to have ended up on Mount Ararat, it would have to have started out several thousand miles to the west. This would then locate pre-Flood civilization somewhere in the area of Upstate New York, and the Garden of Eden roughly in New York City.

Now, in order to get from one place to another, something must move. No one in New York remembers moving, and there are no traces of Biblical history in the Upstate New York area. So we are led to the only available conclusion in this time warp, and that is that the Ark has simply not left yet.

(below right) Poster from Anderson’s The End of the Moon, 2005, BAM performance(top) at NASA as the agency’s first artist-in-residence, 2004

Doug Aitken, Sleepwalkers, Jan-Feb, 2007, 8 projections on MoMA NYC exterior walls(Youtube.com trailer) http://www.youtube.com/watch?v=LJaTjc3TMyo

Hatoum, Light at the End, 1989, London, iron frame and six electric heating elements

Mona Hatoum (b.1952, Beirut, Lebanon) Palestinian parents were exiled to Lebanon in 1948 with the establishment of the Israeli state. During a visit to London in 1975, civil war broke out in Lebanon and Hatoum was forced to stay in London. Hatoum identifies as Palestinian and is based in London. (right) video still from So Much I Want to Say, 1983

“I was completely taken in by Minimal and Conceptual Art when I was on my first degree course. Going to University afterwards …. when I got into the area of installation and object making, I wouldn't say I went back to a minimal aesthetic as such, it was more a kind of reductive approach.”

Mona Hatoum, still from Measures of Distance, 15-minute video, 1988. Letters written by Hatoum's mother in Beirut to her daughter in London appear as Arabic text moving

over the screen and are read aloud in English by Hatoum.

On a visit to Lebanon, Hatoum filmed her mother in the shower. She taped her mother talking to her about her own feelings, her sexuality, her husband’s objections to Hatoum’s art, including this film.

Shirin Neshat (b. 1957, Iranian, based in New York – 2 images from the 1994 Women of Allah series; right: Allegiance with Wakefulness, ink on photograph of artist’s feet with calligraphy - Persian poetry about themes such as exile, diaspora, identity, femininity and martyrdom.

Shirin Neshat, still from The Shadow under the Web, film transferred to DVD and projected as installation, 1997. Neshat synthesizes new image technology; Iranian, American, and European film aesthetics; the poetry, music and songs of her homeland, and the global fusion sounds of Phillip Glass. Two years after producing this work she was declared an enemy of the Iranian state.

“Leaving has offered me incredible personal development, a sense of independence that I don't think I would have had. But there's also a great sense of isolation. And I've permanently lost a complete sense of center. I can never call any place home. I will forever be in a state of in-between.”

- Neshat, 2000

Kimsooja (b. 1957, South Korea) BFA (1980) and MA (1984) from Hong-Ik University, Seoul Kimsooja is the 2013 Venice Biennale artist for the Korean Pavillion. Her installation will be titled:To Breathe: Bottari

Below: stills from video, Needle Woman (1999-present) On six screens laid out in a rectangle, the artist shows herself filmed from behind, standing in the middle of cosmopolitan city centers including New York, Delhi, Shanghai and Tokyo,

http://www.youtube.com/watch?v=Spes0Uk8btY

http://www.art21.org/videos/segment-kimsooja-in-systems