Video art

Art made with video, from the first portable cameras of the 1960s to the gallery installations and long-form works that followed.

Movement · Four filmmakers in the guide

When portable video equipment reached artists in the late 1960s, Nam June Paik and others began making work about the medium itself: its live feedback, its electronic colour, its link to television. Video art grew up in galleries and artist-run spaces.

Ed Emshwiller moved from film to video and computer imaging. Cecelia Condit used processed video to tell her dark fairy tales. Matthew Barney's Cremaster Cycle came out of the art world, not the film industry, and has been shown in museums as well as cinemas.

Films to start with

In the order they were made. Runtimes are approximate.

  1. A still from Sunstone.

    Sunstone

    Ed Emshwiller · 1979 · 3 min · Video, colour

    Made over about eight months at the New York Institute of Technology's computer graphics lab, with Alvy Ray Smith. A stone face becomes one side of a turning cube, and every side carries a moving image. MoMA holds it.

  2. A still from Possibly in Michigan.

    Possibly in Michigan

    Cecelia Condit · 1983 · 12 min · Video, colour

    A sung, densely collaged fairy tale set in a suburban shopping mall, in which two women turn on the man in an animal mask who has been stalking them.

  3. A still from Cremaster 3.

    Cremaster 3

    Matthew Barney · 2002 · 3 hr 2 min · Colour

    The last and longest of the cycle, set as the Chrysler Building goes up. Its centrepiece, The Order, is a 31-minute contest staged on the ramps of the Guggenheim and the only part of the cycle ever released on DVD.

Where it led

Lines from these films into work you may already know.

Nearby

Movements, forms and techniques that share filmmakers or methods with this one.

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