Video art
These include Americans Vito Acconci, Valie Export, John Baldessari, Peter Campus, Doris Totten Chase, Maureen Connor, Norman Cowie, Dimitri Devyatkin, Frank Gillette, Dan Graham, Gary Hill, Joan Jonas, Bruce Nauman, Nam June Paik, Bill Viola, Shigeko Kubota, Martha Rosler, William Wegman, and many others.
For example, American artist Peter Campus' Double Vision combined the video signals from two Sony Portapaks through an electronic mixer, resulting in a distorted and radically dissonant image.
On the West coast, the San Jose State television studios in 1970, Willoughby Sharp began the "Videoviews" series of videotaped dialogues with artists.
The "Videoviews" series consists of Sharps' dialogues with Bruce Nauman (1970), Joseph Beuys (1972), Vito Acconci (1973), Chris Burden (1973), Lowell Darling (1974), and Dennis Oppenheim (1974).
Simulteanously, with the arrival of independent televisions in Europe and the emergence of video clips, artists also used the potential of special effects, high quality images and sophisticated editing (Gary Hill, Bill Viola).
This is the case of the Venice Biennale (Aperto 93) and of NowHere at the Louisiana Museum, but also of art galleries where a new generation of artists for whom the arrival of lighter equipment such as Handycams favored a more direct expression.
Artists such as Pipilotti Rist, Tony Oursler, Carsten Höller, Cheryl Donegan, Nelson Sullivan were able, as others in the 1960s, to leave their studios easily to film by hand without sophistication, sometimes mixing found images with their own (Douglas Gordon, Pierre Bismuth, Sylvie Fleury, Johan Grimonprez, Claude Closky) and using a present but simple post-production.
By the end of the century, institutions and artists worked on the expanding spectrum of the media, 3d imagery, interactivity, cd-roms, Internet, digital post production etc.
[17] Johan Grimonprez's Dial H-I-S-T-O-R-Y is a 68 minute long interpretation of the cold war and the role of terrorists, made almost exclusively with original television and film excerpts on hijacking.
Some artists have also widened their audience by making movies (Apichatpong Weerasethakul who won the 2010 Cannes Film Festival "Palm d'or") or by curating large public events (Pipilotti Rist's Swiss National Expo02 In 2003, Kalup Linzy created Conversations Wit De Churen II: All My Churen, a soap opera satire that has been credited as creating the video and performance sub-genre[18] Although Linzy's work is genre defying his work has been a major contribution to the medium.
Ryan Trecartin, an experimental young video-artist, uses color, editing techniques and bizarre acting to portray what The New Yorker calls "a cultural watershed".
Gilmore added an element of struggle to her art which is sometimes self-imposed,[24] in her video “My love is an anchor” (2004)[25] she lets her foot dry in cement before attempting to break free on camera.
[29] Since 2000, video arts programs have begun to emerge among colleges and universities as a standalone discipline typically situated in relation to film and older broadcast curricula.
Current models found in universities like Northeastern and Syracuse show video arts offering baseline competencies in lighting, editing and camera operation.
Many institutions are expanding their curricula to include courses on real-time rendering, AI-assisted content creation, and multi-platform storytelling, reflecting the growing demand for versatile digital artists.
Additionally, collaborations with game design, digital marketing, and media studies departments are fostering interdisciplinary approaches that prepare students for diverse career opportunities beyond traditional film and television.
