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video art

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Journal Article
Camera Obscura (1984) 4 (3 (12)): 3–17.
Published: 01 December 1984
...Denise Mann © 1984 by Camera Obscura 1984 Modem Sexuahty (1979) Staggering Toward Modern Times: The Video Art of Max Almy DeniJe Man n Max Almy’s video art moves from the highly personal, low-tech, black and white multi-monitor performance piece to that of the multi-layered...
Journal Article
Camera Obscura (2008) 23 (3 (69)): 81–109.
Published: 01 December 2008
... the historical and contextual significance of these questions, I situate Benglis' video at the intersection of three visual histories in the US: that of early video art, seventies feminist art, and mass culture pornography. Although Benglis is primarily a sculptor, she turned increasingly to video in the early...
Journal Article
Camera Obscura (2016) 31 (3 (93)): 153–163.
Published: 01 December 2016
... engages in collective media production from Inuit women's perspectives with an explicit focus on gender. Arnait's video art, animation, fiction features, television programs, and documentaries address issues faced by women struggling for the recognition of indigenous and minoritarian cultures. The success...
Journal Article
Camera Obscura (2012) 27 (3 (81)): 1–37.
Published: 01 December 2012
... terms. Two pieces of fan video art, “Unnatural Selection” and “Battlestar Redactica,” clarify Battlestar 's complicity in eugenic violence and history, while offering alternative solutions to the moral and narrative impasses of the series. By refusing the genetic stasis Battlestar proposes, these fan...
Journal Article
Camera Obscura (2022) 37 (1 (109)): 91–113.
Published: 01 May 2022
...Emily Watlington Abstract This article considers the often‐overlooked role that disgusting imagery plays in the work of Swiss video artist Pipilotti Rist. In immersive installations and in single‐channel videos, Rist updates abject feminist performance art of the 1960s and 1970s for a media...
FIGURES
Journal Article
Camera Obscura (2020) 35 (1 (103)): 39–75.
Published: 01 May 2020
... thresholds between body and mind, self and other, nature and culture. Copyright © 2020 Camera Obscura 2020 Nina Sobell biofeedback cybernetics feminist art nonverbal communication participatory art Figure 1. Nina Sobell, EEG: Video Telemetry Environment (also known as Brainwave Drawings, 1975...
Journal Article
Camera Obscura (2021) 36 (3 (108)): 123–127.
Published: 01 December 2021
...Jennifer Lange Abstract This memoir recounts Barbara Hammer's relationship to the Wexner Center for the Arts and its Film/Video Studio residency program, which supported a number of her films between 1994 and 2018. It offers some personal insight into the evolution of Hammer's final work...
FIGURES
Journal Article
Camera Obscura (2010) 25 (2 (74)): 41–73.
Published: 01 September 2010
... Roberta Smith selected Rottenberg’s video installation Mary’s Cherries  (2003) as “best of show” among the P.S.1 Contemporary Art Center’s summer exhibitions.2 Since then, her work has been shown at the Guggenheim, the Museum of Modern Art, and the Nicole Klagsbrun Gallery, as well as in more...
Journal Article
Camera Obscura (2006) 21 (2 (62)): 184–191.
Published: 01 September 2006
... imaginaries. In short, history is made up of multiple narratives, but within the fields of experimental film and video, canonical nar- ratives and pedigreed artworks tend to dominate.4 The practi- cal histories of art, which usually come before the theories and philosophies — or sometimes...
Journal Article
Camera Obscura (2011) 26 (2 (77)): 123–130.
Published: 01 September 2011
...Francesca Coppa Vidding is a thirty-year-old remix practice in which predominantly female media fans reedit television or film into music videos. Vidding is important not only as an art form in its own right but also as a subcultural — and often feminist — reinterpretation of and confrontation...
Journal Article
Camera Obscura (2011) 26 (2 (77)): 131–138.
Published: 01 September 2011
...Francesca Coppa; Rebecca Tushnet Vidding is a thirty-year-old remix practice in which predominantly female media fans reedit television or film into music videos. Vidding is important not only as an art form in its own right but also as a subcultural — and often feminist — reinterpretation...
Journal Article
Camera Obscura (2011) 26 (2 (77)): 139–146.
Published: 01 September 2011
...Kristina Busse; Alexis Lothian Vidding is a thirty-year-old remix practice in which predominantly female media fans reedit television or film into music videos. Vidding is important not only as an art form in its own right but also as a subcultural — and often feminist — reinterpretation...
Journal Article
Camera Obscura (2004) 19 (3 (57)): 57–91.
Published: 01 December 2004
... Cin- ema and had an extended run as a looped single-channel video installation in the exhibition Social Studies at the New Museum of Contemporary Art.13 Superstar also played repeatedly at the 55 Mercer Street Gallery in December 1987 and January 1988, as well as at Artists Space in the spring...
Journal Article
Camera Obscura (2019) 34 (1 (100)): 185–195.
Published: 01 May 2019
... conference, and a publication currently in production. This Akerman project, which grew spontaneously, was initiated by A Nos Amours (curators and filmmakers Adam Roberts and Joanna Hogg), who presented an exhaustive retrospective of Akerman’s film and video works over a two-year period between 2013 and 2015...
Journal Article
Camera Obscura (2016) 31 (2 (92)): 195–203.
Published: 01 September 2016
... Wyman, Combat Drag, 2008, 8 minutes, video (production still) IN PRACTICE: OPACITIES “The Criticality of Activism Needs to Be Applied to Art”: A Conversation with Jemima Wyman Jasmina Tumbas Almost three decades ago, the notorious anarchist Hakim Bey...
Journal Article
Camera Obscura (2021) 36 (1 (106)): 187–213.
Published: 01 May 2021
..., video) in that it addresses the viewer directly as a literal presence in the space. . . . This insistence on the literal presence of the viewer is arguably the key characteristic of installation art.” 4 Varda didn't create any site-specific installations, but her installations are nevertheless...
FIGURES | View All (8)
Journal Article
Camera Obscura (2012) 27 (3 (81)): 101–135.
Published: 01 December 2012
... cardboard cutouts of the female symbol (single and paired), the labrys, and the let- ter T. The band makes a point of being both lesbian- feminist and trans- inclusive. Smith’s and Hardy’s videos are part of a recent wave of queer media art that mines the energy and iconography of s lesbian...
Journal Article
Camera Obscura (1990) 8 (3 (24)): 7–10.
Published: 01 September 1990
... at the convergence of three techniques and three arts: photography, cinema and video. These pas- sages are clearly taking shape in two ways-even if this only gives a name to the most visible arrangement of the figure that is produced at the limit of movement and of time: on the one hand, an oscillation...
Journal Article
Camera Obscura (1984) 4 (3 (12)): 18–39.
Published: 01 December 1984
... that video could be used in such a variety of ways - installations, documentation, video art. Also, because of the feminist movement, a lot of women were jumping into video. To me, it seemed like it was more accessible. Traditional TV was totally the opposite. Network TV and the commercial...
Journal Article
Camera Obscura (1985) 5 (1-2 (13-14)): 28–49.
Published: 01 September 1985
... in the art world. Never- theless, these installations are still shown only here and there, apart from other works in the museum or gallery, or are accepted in small quantities at video festivals whose main emphasis is on a selection of tapes, and where they are excluded from juried...