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Journal articles on the topic '1970s video art'
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1
Ilfeld, Etan J. "Contemporary Art and Cybernetics: Waves of Cybernetic Discourse within Conceptual, Video and New Media Art." Leonardo 45, no. 1 (2012): 57–63. http://dx.doi.org/10.1162/leon_a_00326.
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This paper aims to highlight the interplay of technology and cybernetics within conceptual art. Just as Lucy Lippard has illustrated the influence of information theory within 1960s conceptual art, this paper traces the technological discourses within conceptual art through to contemporary digital art—specifically, establishing a correlation between Katherine Hayles's mapping of first-, second- and third-wave cybernetic narratives and, respectively, 1960s–1970s conceptual art, 1970s–1990s video art and new media art. Technology is shown to have a major influence on conceptual art, but one often based on historical, social and cybernetic narratives. This paper echoes Krzystof Ziarek's call for a Heideggerian poiesis and Adorno/Blanchotnian “nonpower” within conceptual art and advocates Ziarek's notion of “powerfree” artistic practices within new media and transgenic art.
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Sneed, Gillian. "The Disciplinary and the Domestic." Diacrítica 34, no. 2 (2020): 107–31. http://dx.doi.org/10.21814/diacritica.534.
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This essay focuses on works of video art from the 1970s and early 1980s by Letícia Parente (1930–1991), a first-generation video art pioneer in Brazil, whose video performances associated household imagery, domestic spaces, and quotidian chores and objects with violence, repression, and incarceration during the period the Brazilian dicatorship (1964–1985). Parente worked in video performance, an approach to performance art in which she performed for the video camera, rather than for a live audience. I argue that in her video performances, Parente performs domestic and quotidian actions in ways that enact self-harm and confinement in order to marshal a response to gender oppression in women’s daily lives that paralleled the violence and imprisonment Brazilians experienced under the dictatorship. By enacting disciplinary “punishments” (or the threat of such punishments) on herself, cloaked as daily domestic tasks, her works demonstrate the ways that the same forces that structure public disciplinary society also configure the private spaces of the home. I propose that she positions domestic space as a zone of containment and imprisonment, and that her resistance occurs not in the space itself but through the absurdity and ironic bathos of their bodily performances, as well as her actual or implied self-harm and violence, themes I address by engaging Kathy O’Dell’s theorization of “masochistic performance art,” and Hal Foster’s concept of “mimetic adaptation.”
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Yohalem, Hannah. "Displacing Vision: Contact Improvisation, Anarchy, and Empathy." Dance Research Journal 50, no. 2 (2018): 45–61. http://dx.doi.org/10.1017/s0149767718000220.
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In this article, I specify and historicize the modes of communication that were at play among practitioners of contact improvisation+ and between the dancers and their audiences throughout the 1970s and into the early 1980s. I argue that contact improvisation's turn away from dance as a performed visual medium and toward the tactile experience of the participants exceeds a phenomenological reading and instead needs to be considered in light of anarchist theories of mutual assistance in which group behavior supports individual development. At the same time, however, Steve Paxton, the founder of the form, became concerned precisely with its opacity for an audience. I locate this ambivalent engagement with the performance of a participatory action in the edited video recordings that Paxton made together with Lisa Nelson, Nancy Stark Smith, and Steve Christiansen. These mediated videos, aligned with the rise of video art, paradoxically aim to spark a stronger connection than Paxton thought was possible during the live demonstrations of the form.
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Fitch, Nick, and Anne-Sophie Dinant. "'Situações-Limites': the emergence of video art in Brazil in the 1970s." MIRAJ, Moving Image Review & Art Journal 1, no. 1 (2012): 59–67. http://dx.doi.org/10.1386/miraj.1.1.59_7.
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Dell'Aria, Annie. "From Vertical Roll to .MOV File." Afterimage 47, no. 3 (2020): 22–42. http://dx.doi.org/10.1525/aft.2020.473004.
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In this article, I examine artworks from two periods in the history of media art—the 1970s and the 2010s—to demonstrate how changes in our haptic relationship to screen media shift the site of criticality in contemporary media art from disruption of electronic feedback toward an intensification and embrace of image flows that actively seek the viewer's touch and gesture. I situate video art within the shifting concept of flow in everyday media consumption, reading video art practices within a larger matrix of bodily and cultural engagement with screens. I locate touch and gesture as both themes in the content of single-channel works and components of the structure of video installation. Artists discussed include Camille Henrot, Joan Jonas, Rafael Lozano-Hemmer, Bruce Nauman, and Hito Steyerl. My analysis bridges media theory and art history with close readings of salient works of art, connecting the structure of artworks employing haptic input to shifts in the broader media ecology and the dynamic interplay of touch, image, and power under our fingertips.
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Scovino, Felipe. "ROSTO EM SUSPENSO: MARCOS INICIAIS DA VIDEOARTE NO BRASIL / Suspended face: video art’smilestones in Brazil." arte e ensaios 26, no. 39 (2020): 27–37. http://dx.doi.org/10.37235/ae.n39.3.
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O artigo analisa algumas obras iniciais da produção de videoarte no Brasil em meados dos anos 1970, tendo como estudo de caso as produções de Anna Bella Geiger, Letícia Parente e Sonia Andrade. Em particular, o signo de um rosto apagado, ocultado, suspenso ou desfigurado que aparece nas produções analisadas. Sob a perspectiva do conceito de rostidade, de Deleuze e Guattari, o artigo discute as implicações estéticas e políticas que essas produções trazem em um Brasil patriarcal e sob o regime da ditadura militar.Palavras-chave: Anna Bella Geiger; Sonia Andrade; Letícia Parente; Videoarte; Rostidade.AbstractThe paper analyzes some early works of video art production in Brazil in the mid-1970s, taking as case study the productions of Anna Bella Geiger, Letícia Parente and Sonia Andrade. In particular, the sign of an erased, hidden, suspended or disfigured face that appears in theirs productions. Addressing the concept of faciality, by Deleuze and Guattari, the paper discusses the aesthetic and political implications that these productions bring to a patriarchal Brazil under the regime of the military dictatorship.Keywords: Anna Bella Geiger; Sonia Andrade; Letícia Parente; Video Art; Faciality
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Barker, Tim. "Experiments with time: the technical image in video art, new media and the digital humanities." Visual Communication 16, no. 4 (2017): 375–94. http://dx.doi.org/10.1177/1470357217702360.
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In this article, the author begins to identify a new way to understand the experiment in arts and humanities research. Focusing on the production of what Vilém Flusser calls ‘technical images’ in video art and new media projects, he suggests that the experiment in experimental art may be rethought as a method for testing concepts and observations through the application of media technology as an apparatus. The technical image is a time-critical way to understand automatic image making devices and using this method of analysis he identifies examples where artists and humanities scholars have programmed devices to experiment with the time of contemporary media culture. Beginning with an analysis of Mark Hansen and Ben Rubin’s two works Listening Post and Moveable Type, the author uses a number of examples, from contemporary experiments with digital media to the experiments with video in the 1970s and 1980s, to show how artists and humanities scholars have used technical images to engage in experimental research outside the controlled laboratory of scientific experiments. If experimental scientists test scientific problems by developing, programming and applying an apparatus, the experimental artists identified in this article can likewise be seen to test aesthetic and cultural problems by similarly redesigning, scaling-up and experimentally applying media technology.
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Davis, Vaginal, and Lewis Church. "My Womanly Story." PAJ: A Journal of Performance and Art 38, no. 2 (2016): 80–88. http://dx.doi.org/10.1162/pajj_a_00320.
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Ms. Vaginal “Crème” Davis has come to occupy a unique position in the parallel and intertwining histories of performance and live art, punk, and queer subcultures. As lead singer of the Afro Sisters, black fag, Pedro, Muriel & Esther (PME), and ¡Cholita! The Female Menudo, she developed a fearsome reputation and cult following on the alternative music scene of the late 1970s, 1980s, and 1990s, emerging as a prime antagonist of the post-punk subgenre Queercore. Alongside this musical practice, she directs and stars in her own independent films and theatrical productions, and was a central figure in the burgeoning fanzine culture of the 1980s, producing both home-printed magazines and the influential video-zine Fertile La Toyah Jackson. Davis also ran and hosted several highly influential performance/club nights in Los Angeles throughout the 1990s and 2000s including Club Sucker, G.I.M.P., and Bricktops. Now living in Berlin, Davis continues to produce work as a performer, visual artist, sculptor, and writer, and as a musician with her most recent bands Tenderloin and Ruth Fisher. Davis produces work that blends a peculiarly Angeleno understanding of celebrity, glamor, and showbiz with the cultural politics of race, sexuality, privilege, and class, all made within a DIY ethos that stretches back to the earliest days of Californian punk. This interview was recorded in a cold Berlin on December 3, 2014, at Davis's home in Schöneberg.
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Kane, Carolyn L. "The Tragedy of Radical Subjectivity: From Radical Software to Proprietary Subjects." Leonardo 47, no. 5 (2014): 480–87. http://dx.doi.org/10.1162/leon_a_00871.
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Considering the aestheticization of post-World War II research in cybernetics as part of a cultural shift in art practices and human and machine subjectivities, the author brings these spheres together by analyzing encounters between the experimental artists and researchers who wrote for and edited Radical Software in the early 1970s, including Harry A. Wilmer, Gregory Bateson and Paul Ryan. She then connects their experimental uses of video feedback (a central tenet of cybernetics) to new and increasingly pervasive human-machine subjectivities.
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Werner, Hans U. "MetaSon #5 Skruv Stockholm: turning schizophonic sound into audiovirtual image." Organised Sound 7, no. 1 (2002): 73–78. http://dx.doi.org/10.1017/s1355771802001115.
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Schizophonic soundscapes in Murray Schafer's critical acoustic ecology mean a split between listening and seeing, between space and place, between audience and communicator. His idea of a gap between senses is based on electronic media like radio and telephone, but it gains new actuality in modern (multimedia) times. The new technology and its users have too experimented with the creative inversion of schizophony in sound and vision. Film sound design and film music combine sound in and out of context, composition works with contrapunctual audiovisions; video art and sound art, as in the work of Robert Cahen, combine and mix genres of all kinds and senses. MetaSon #5 Skruv Stockholm is an audiovisual soundwalk, based on soundscape recordings in Sweden in the 1970s and 1990s, combined with associative pictures and designs, each in its own rhythms and times. It consists less of the common meaning both share, being more dependent on the fluidity and dynamic of the relationship between the elements. Sound and image create an intermedium, intermodal space neither of which could project alone. From moment to moment, schizophonic montage and idea invert into a fresh, maybe evocative look at the way we perceive, where the audio flow transforms stable pictures into liquid forms, where image follows sound and is treated like sound.
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Makai, Péter. "Video Games as Objects and Vehicles of Nostalgia." Humanities 7, no. 4 (2018): 123. http://dx.doi.org/10.3390/h7040123.
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Barely 50 years old, video games are among the newest media today, and still a source of fascination and a site of anxiety for cultural critics and parents. Since the 1970s, a generation of video gamers have grown up and as they began to have children of their own, video games have become objects evoking fond memories of the past. Nostalgia for simpler times is evident in the aesthetic choices game designers make: pixelated graphics, 8-bit music, and frustratingly hard levels are all reminiscent of arcade-style and third-generation console games that have been etched into the memory of Generation X. At the same time, major AAA titles have become so photorealistic and full of cinematic ambition that video games can also serve as vehicles for nostalgia by “faithfully” recreating the past. From historical recreations of major cities in the Assassin’s Creed series and L. A. Noire, to the resurrection of old art styles in 80 Days, Firewatch or Cuphead all speak of the extent to which computer gaming is suffused with a longing for pasts that never were but might have been. This paper investigates the design of games to examine how nostalgia is used to manipulate affect and player experience, and how it contributes to the themes that these computer games explore. Far from ruining video games, nostalgia nonetheless exploits the associations the players have with certain historical eras, including earlier eras of video gaming. Even so, the juxtaposition of period media and dystopic rampages or difficult levels critically comment upon the futility of nostalgia.
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Marzano, Francesco. "Performing death: Marina Abramović’s 7 Deaths of Maria Callas." Acta Universitatis Lodziensis. Folia Litteraria Polonica 59, no. 4 (2020): 161–90. http://dx.doi.org/10.18778/1505-9057.59.10.
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This essay analyses the opera project 7 Deaths of Maria Callas by Marina Abramović, premiered in Munich in September, 2020. The first section reconstructs the role that the Greek soprano played in the life of the Serbian performer, bringing the latter to a gradual sense of self-identification. Then, the thirty-years-long development of the original concept of the video piece How to Die into the actual project through its various stages is taken into account, and the stage realisation of the work is described in detail. The third section focuses on the representation of death in Marina Abramović’s performances, while section four compares Callas and Abramović’s works and lives, and their status as iconic women. The last section retraces Abramović’s artistic path which has led her from her extreme and essential performances of the 1970s to her recent experimentations with other media and to her meditation on immaterial art.
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Cacchione, Orianna. "Related rhythms: Situating Zhang Peili and contemporary Chinese video art in the globalizing art world." Journal of Contemporary Chinese Art 5, no. 1 (2018): 21–39. http://dx.doi.org/10.1386/jcca.5.1.21_1.
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Despite being considered the first video artist to work in China, the majority of Zhang Peili’s earliest video works were originally exhibited abroad. In many of these exhibitions, his videos were displayed in different installation formats and configurations. One of the most evident of these changes occurred at the travelling exhibition China Avant-Garde. In Berlin, the opening venue of the exhibition, two videos were displayed in ways that differed from their original presentations; Document on Hygiene No. 3 (1991) and Assignment No. 1 (1992) were presented as singlechannel videos on single monitors instead of the multiple monitor installations previously used to show the works in Shanghai and Paris, respectively. Water: Standard Version from the Cihai Dictionary (1991) premiered in Berlin as a single-channel, single-monitor work. However, when it was installed in the exhibition’s Rotterdam venue, the work was shown on a nine-monitor grid. This article explores what caused the flexibility in the display of Zhang Peili’s early videos. I argue that these transformations demonstrate Zhang Peili’s conceptualization of video as a medium for art and his navigation of the rapidly globalizing art world. While the initial examples of this flexibility in installation were often caused by miscommunications with international curators, later exhibitions provided a regular venue for Zhang Peili to develop his approach to the ‘scene’ (chang) and ‘content’ (neirong) of video installation. Furthermore, as one of the most active Chinese artists working and exhibiting abroad in the 1990s, Zhang Peili was placed within the middle of domestic and international debates about the globalization of contemporary Chinese art. He responded to these debates by expelling signifiers of national identity in his videos and by forcefully deriding these discussions as a form of nationalism. Considering his video work from the perspective of its international presentation provides an important example of how artists working in China situated themselves in relationship to global art production in the 1980s and 1990s.
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Groth, Sanne Krogh, and Kristine Samson. "Urban sound ecologies." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 3, no. 3 (2013): 94–112. http://dx.doi.org/10.7146/se.v3i3.18443.
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Within recent years, there has been a renewed focus on sound in urban environments. From sound installations in public space to sound festivals in alternative settings, we find a common interest in sound art relating to the urban environment. Artworks or interventions presented in such contexts share the characteristics of site specificity. However, this article will consider the artwork in a broader context by re-examining how sound installations relate to the urban environment. For that purpose, this article brings together ecology terms from acoustic ecology of the sound theories of the 1970s while developing them into recent definitions of ecology in urban studies. Finally, we unfold our framing of urban sound ecologies with three case analyses: a sound intervention in Berlin, a symphony for wind instruments in Copenhagen and a video walk in a former railway station in Kassel. The article concludes that the ways in which recent sound installations work with urban ecologies vary. While two of the examples blend into the urban environment, the other transfers the concert format and its mode of listening to urban space. Last, and in accordance with recent soundscape research, we point to how artists working with new information and media technologies create inventive ways of inserting sound and image into urban environments.
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Piccini, A. "REWIND: British Artists' Video of the 1970s and 1980s." Screen 54, no. 3 (2013): 420–23. http://dx.doi.org/10.1093/screen/hjt029.
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Miletic, Philip. "Avatar 'n' Andy." Loading 13, no. 21 (2020): 34–54. http://dx.doi.org/10.7202/1071450ar.
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Despite recent criticisms that call out blackface in video game voice acting, the term “blackface” was and still is seldomly used to describe the act of casting white voice actors as characters of colour. As a result, the act of blackface in video game voice acting still occurs because of colorblind claims surrounding the digital medium and culture of games. In this paper, I position blackface in video game voice acting within a technological and cultural history of oral blackface and white sonic norms. I focus on three time periods: the Intellivision Intellivoice and the invention of a "universal" voice in video games; early American radio in the 1920s-1930s and the national standardization of voice; and colorblind rhetoric of contemporary game publishers/devs and voice actors.
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Staruseva-Persheeva, Alexandra Dmitrievna. "Video Art: “A White Cube” or “A Black Box”?" Journal of Flm Arts and Film Studies 6, no. 4 (2014): 114–23. http://dx.doi.org/10.17816/vgik64114-123.
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Video art is a hybrid, combining features of both contemporary art as well as screen arts. It brings together different ways of perception working both in a manner of a movie which transfers the viewer into virtual daydreaming (Matthew Barney, Steeve McQueen), and in a manner of a painting or sculpture which gives a viewer some intense corporal experience (Tony Oursler). Accordingly, there are two ways of presenting video art: in a white cube and a black box. In 1970-s video art used to be presented in white cubes of contemporary art galleries where they nailed the screens right to the wall. In a white cube video comes into the viewers sight together with other items in display, therefore a show-piece comes into contact with other ones in a spectators minds eye. Moreover, a white cube gives visitors an opportunity to be in charge of their time of viewing, which implies, that the white cube perception appears rather chaotic and the final cut of a video in the spectators mind becomes unpredictable, what is characteristic of video. In 2000-s when both video and film technologies got replaced by the digital one, all the moving pictures started to resemble one another. A well-lit room of a white cube was not appropriate for high definition videos, whereas a black box is usually associated with a cinema hall and consequently a video presented in such a cinematic manner makes a viewer unconsciously expect to see a cinematic piece of art. Video today is an indispensable figurant of any significant exhibition of contemporary art and it is defined as an artistic (not cinematic) media. Traditionally video is being exhibited in a white cube of a gallery; however, there is now a distinct tendency to present video art in a black box, that is in a cinematic way. As a result its getting harder and harder to distinguish video art from experimental cinema. Nowadays the very strategy of presentation of video may help this media to retain identity or to lose it.
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Tamblyn, Christine. "Image Processing in Chicago Video Art, 1970-1980." Leonardo 24, no. 3 (1991): 303. http://dx.doi.org/10.2307/1575572.
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Awwal, Arpana. "From Villain to Hero: Masculinity and Political Aesthetics in the Films of Bangladeshi Action Star Joshim." BioScope: South Asian Screen Studies 9, no. 1 (2018): 24–45. http://dx.doi.org/10.1177/0974927618767277.
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In this article, I trace the growth of the action film genre in Bangladesh in the 1970s and 1980s, at a time when new technologies such as video cassette recorder (VCR) were emerging in the market and national politics was wrestling with the competing notions of masculinity, leadership and heroism. I look at the emergence of the Bangladeshi action star Joshim within the context of South Asian trans-regional cinema and its changing tropes of masculinity. I argue that anxiety over new technologies, changes within Bangladesh’s political regime and its leadership, including state censorship, and shifts in the representation of heroic masculinity within national imagery—from a socialist model associated with Sheikh Mujibur Rahman to the modern, energetic and globally inflected masculinity of Ziaur Rahman—were intertwined. These changes, I contend, are reflected in the transition in Joshim’s roles from the primarily villainous characters of his early films to an action hero from the 1980s onwards. The article examines Joshim’s role in the film Muhammad Ali (Motaleb Hossain, 1986b), as an example of a glocalised action film. Its sources include articles and letters printed in Purbani and Chitrali, the most widely read Bangladeshi film magazines of the 1970s and 1980s.
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Harutyunyan, Angela. "The Real and/as Representation: TV, Video, and Contemporary Art in Armenia." ARTMargins 1, no. 1 (2012): 88–109. http://dx.doi.org/10.1162/artm_a_00002.
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The article situates video art produced in Armenia in the late 1990s and early 2000s in the framework of larger social transformations from modern to post-modern society. It explores the ways in which the paradigm shift in media representations in Armenia affected art production and reception. By critically examining theories of video art as developed in the context of the Euro-American academia and their applicability to historically specific contexts, the article argues that the late 1990s brought about a rapid shift in the relationship between the real and representation in which media images were perceived as more real than “reality” of everyday non-mediatized experiences.
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Upton, Julian. "Electric Blues: The Rise and Fall of Britain's First Pre-recorded Videocassette Distributors." Journal of British Cinema and Television 13, no. 1 (2016): 19–41. http://dx.doi.org/10.3366/jbctv.2016.0294.
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This article charts the first years of the films-on-videocassette market in Britain, from the launch of Sony's Betamax and JVC's VHS systems in 1978 to the beginnings of the British ‘video nasty’ panic in 1982. It is not concerned with revisiting the ‘video nasty’ debate per se; instead it looks at how a link between video and pornography was routinely emphasised long before this controversy took hold and explores how a sense of ‘degeneracy’ surrounding the new technology crossed over from the US to shape media and government hostility towards the medium in Britain. Voices that were strongly resistant to the ‘permissive’ social and cultural changes of the late 1960s began to mobilise in the mid-1970s and found in 1979's incoming Prime Minister Margaret Thatcher a powerful ally. With the burgeoning video market powered, however, by a business ethos that exemplified much of what would soon be called ‘Thatcherite’, the early tensions between the video pioneers and the would-be censors on the right reveal how the entrepreneurial spirit of the times could be seen to blossom only if it fell in line with the new moral order.
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Haddon, Mimi. "Warp's Music Videos: Affective Communities, Genre and Gender in Electronic/Dance Music's Visual Aesthetic." Journal of British Cinema and Television 16, no. 4 (2019): 571–90. http://dx.doi.org/10.3366/jbctv.2019.0499.
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This article examines Warp's music videos primarily from the ‘Warp Vision’ era of 1989–2004. I adopt a multidisciplinary approach and map three analytical perspectives. Firstly, I look at the videos' origins in Sheffield's electronic/dance music scene of the early 1990s. I then consider the way in which Warp's visual aesthetic refracts a gendered and raced identity through the lens of cult fandom and the ‘techno-geek’. Finally, I scrutinise the gendered division of labour involved in the making of Warp's music videos and consider how production studies might enhance current approaches to the study of music video.
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Farooq, Gowhar. "Lost spectacle: Media consumption by Kashmiri youth in the absence of cinema halls." Studies in South Asian Film & Media 11, no. 1 (2020): 147–61. http://dx.doi.org/10.1386/safm_00025_1.
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Hardline militants forced the cinema halls in Kashmir into closure in 1989. As heavy militarization ensued, several spaces, including cinema halls, were transformed into structures where people, especially young men, were detained and tortured by soldiers and militia. The generations born after the 1980s, therefore, grew up in a cinema-less, militarized world. In the absence of functional cinema halls, they, for years, relied on the state broadcaster for movies and media. Later – although under tremendous threat from extremists – a network of local cable TV operators, who functioned without licences, provided some succour. They were followed by pirate video-cassette and compact-disk parlours that provided people with a means to stay connected to movie culture. And, while the scene changed with the arrival of satellite TV, computers and later the internet, which connected the youth of the region to the larger global media culture, the absence of cinema persists. This article aims to explore how youth, born after the 1980s, associate with cinema halls of Kashmir and what the loss of the cinema viewing culture means to them. To this end, I intend to look into cinema culture before the 1990s and the politics around the closure of cinema halls. The article will also put into perspective the arrival of satellite TV and the circulation of pirated video cassettes, compact disks and videos of the funerals of rebels that were filmed and circulated by rental shops. These practices and processes, which shaped the childhood and youth of several generations in Kashmir, offer insights into the media consumption and the role the state and its apparatuses have in shaping the youth in a conflict-ridden and militarized region of the Global South.
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Jones, Stephen. "Synthetics: A History of the Electronically Generated Image in Australia." Leonardo 36, no. 3 (2003): 187–95. http://dx.doi.org/10.1162/002409403321921389.
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This paper takes a brief look at the early years of computer-graphic and video-synthesizer–driven image production in Australia. It begins with the first (known) Australian data visualization, in 1957, and proceeds through the compositing of computer graphics and video effects in the music videos of the late 1980s. The author surveys the types of work produced by workers on the computer graphics and video synthesis systems of the early period and draws out some indications of the influences and interactions among artists and engineers and the technical systems they had available, which guided the evolution of the field for artistic production.
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Vaitheswaran, Sridhar, Philip Crockett, Sam Wilson, and Harry Millar. "Telemental health: videoconferencing in mental health services." Advances in Psychiatric Treatment 18, no. 5 (2012): 392–98. http://dx.doi.org/10.1192/apt.bp.111.008904.
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SummaryVideo technology was first used in psychiatric services in the 1950s but came into general use in the 1990s, particularly in North America and Australia. Video has utility across all ages and in a wide range of clinical situations. These include case conferencing for patients with complex problems (e.g. when planning discharge from specialist inpatient units), psychological assessment and treatment, Mental Health Act assessments, suicide risk assessment and work in forensic settings. Potential for benefit may be most obvious in remote locations, but video use is also relevant in urban settings. Lack of training and experience, inadequate access to equipment and insufficient technical support have all limited the take-up of this technology in the UK. This article briefly reviews the literature and outlines technical and cost considerations when using video technology. Three services in Scotland are described to illustrate ways in which videoconferencing can enhance services.
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Jeanjean, Stéphanie. "Disobedient Video in France in the 1970s: Video Production by Women’s Collectives." Afterall: A Journal of Art, Context and Enquiry 48 (September 2019): 118–25. http://dx.doi.org/10.1086/706133.
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Jeanjean, Stéphanie. "Disobedient Video in France in the 1970s: Video Production by Women’s Collectives." Afterall: A Journal of Art, Context and Enquiry 27 (May 2011): 5–16. http://dx.doi.org/10.1086/661606.
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Smith, Justin. "Absence and Presence: Top of the Pops and the Demand for Music Videos in the 1960s." Journal of British Cinema and Television 16, no. 4 (2019): 492–544. http://dx.doi.org/10.3366/jbctv.2019.0497.
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While there is a surprising critical consensus underpinning the myth that British music video began in the mid-1970s with Queen's video for ‘Bohemian Rhapsody’, few scholars have pursued John Mundy's (1999) lead in locating its origins a decade earlier. Although the relationship between film and the popular song has a much longer history, this article seeks to establish that the international success of British beat groups in the first half of the 1960s encouraged television broadcasters to target the youth audience with new shows that presented their idols performing their latest hits (which normally meant miming to recorded playback). In the UK, from 1964, the BBC's Top of the Pops created an enduring format specifically harnessed to popular music chart rankings. This format created a demand for the top British artists' regular studio presence which their busy touring schedules could seldom accommodate; American artists achieving British pop chart success rarely appeared on the show in person. These frequent absences, then, coupled with the desire by broadcasters elsewhere in Europe and America to present popular British acts, created a demand for pre-recorded or filmed inserts to be produced and shown in lieu of the artists themselves appearing. Drawing on records held at the BBC's Written Archives and elsewhere, and interviews with a number of 1960s music video directors, this article evidences TV's demand-driver and illustrates how the ‘pop promo’, in the hands of some, became a creative enterprise which exceeded television's requirement to cover for an artist's studio absence.
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Spaulding, Hannah. "Recording Intimacy, Reviewing Spectacle: The Emergence of Video in the American Home." Television & New Media 19, no. 3 (2017): 257–73. http://dx.doi.org/10.1177/1527476417710727.
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This article traces the discourses surrounding home video-recording technologies, from their emergence in the mid-1960s to their popularity in the mid-1990s. Through an analysis of newspapers, magazines, and advertisements, this article contends that video’s history has been shaped by two seemingly opposed visions of the medium: one which embraced it as a tool for intimacy, and another that condemned it as a harbinger of spectacle. Ultimately, I argue that these two seemingly contradictory views actually share similar convictions and emerge in response to crises and conditions of American capitalism. In their attempt to grapple with video, they condemn commercial television, defend a nostalgic vision of home and family, and in so doing reveal the instability of intimacy and persistence of spectacle at the heart of American domestic life.
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Kudaibergenova, Diana T. "“My Silk Road to You”: Re-imagining routes, roads, and geography in contemporary art of “Central Asia”." Journal of Eurasian Studies 8, no. 1 (2017): 31–43. http://dx.doi.org/10.1016/j.euras.2016.11.007.
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This paper re-focuses the Silk Road discussions from the position of contemporary art in Central Asian region. Since the late 1980s contemporary art in Central Asia boomed and it eventually became an alternative public space for the discussion of cultural transformations, social and global processes and problems that local societies faced. Initially the questions raised by many artists concerned issues of lost identity and lost heritage during the period of Soviet domination in the region. Different artists started re-imagining the concept of the Self in their works and criticising the old rigid approaches to geography, history and mobility. Nomadic heritage became one of the central themes in contemporary art of Central Asia in the 1990s. Artists started experimenting with symbols of mobility, fluid borders and imagined geography of the “magic steppe” (see Kudaibergenova 2017, “Punk Shamanism”). Contemporary art in Central Asia continues to serve as a space for social critique and a space for search and re-conceptualisation of new fluid identities, geographies and region's place on the world map. In this paper I critically evaluate three themes connected to the symbolism of Silk Road heritage that many artists engage with – imagined geography, routes, roads and mobility. All three themes are present in the selected case studies of Gulnara Kasmalieva's and Muratbek Djumaliev's TransSiberian Amazons (2005) and A New Silk Road: Algorithm of Survival and Hope (2007) multi-channel video art, Victor and Elena Vorobievs’ (Non)Silk Road (2006) performance and photography, Almagul Menlibayeva's My Silk Road to You video-art and photography (2010–2011), Yerbossyn Meldibekov's series on imagining Central Asia and the Mountains of Revolution (2012–2015), and Syrlybek Bekbotaev's Kyrgyz Pass installation (2014–2015) as well as Defenders of Issyk Kul (2014). I trace how artists modernise, mutate and criticise main discourses about Silk Road and what impact this has on the re-imagination processes.
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Lajer–Burcharth, Ewa. "Real Bodies: Video in the 1990s." Art History 20, no. 2 (1997): 185–213. http://dx.doi.org/10.1111/1467-8365.00055.
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Jankowski, Filip. "The Presence of Female Designers in French Video Game Industry, 1985–1993." Games and Culture 15, no. 6 (2019): 670–84. http://dx.doi.org/10.1177/1555412019841954.
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Increasingly, more people do notice that female designers wrote their first games in the 1970s and 1980s. However, there was another country where women did also design games decades before the #GamerGate movement. This article examines the selected works of three French designers: Clotilde Marion, Chine Lanzmann, and Muriel Tramis. The analysis of those games took into account the self-representation of those designers—and women in general—within the game content. The conducted research has proven that within their games, Marion, Lanzmann, and Tramis included their everyday experiences as women. Using such techniques as simulated point of view and authorial signature, those women indicated their own role in the development and showed how females in general face male oppression against them. This means that the United States is not the only country with a long tradition of female game developers. Thus, video game history remains an undiscovered research field.
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Johnston, Sean. "Holograms: The Story of a Word and Its Cultural Uses." Leonardo 50, no. 5 (2017): 493–99. http://dx.doi.org/10.1162/leon_a_01329.
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Holograms reached popular consciousness during the 1960s and have since left audiences alternately fascinated, bemused or inspired. Their impact was conditioned by earlier cultural associations and successive reimaginings by wider publics. Attaining peak public visibility during the 1980s, holograms have been found more in our pockets (as identity documents) and in our minds (as video-gaming fantasies and “faux hologram” performers) than in front of our eyes. The most enduring, popular interpretations of the word “hologram” evoke the traditional allure of magic and galvanize hopeful technological dreams. This article explores the mutating cultural uses of the term “hologram” as markers of magic, modernity and optimism.
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Wei, Chu-Chiun. "The aesthetics of the multitude in Chen Chieh-Jen’s Lingchi: Echoes of a Historical Photograph (2002) – A genealogy." Journal of Contemporary Chinese Art 5, no. 1 (2018): 61–76. http://dx.doi.org/10.1386/jcca.5.1.61_1.
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Taiwanese artist Chen Chieh-Jen’s video works directly address Taiwan’s post-martial law condition. His video installations demonstrate what I propose to identify as ‘the aesthetics of the multitude’. Through the process of filmmaking, Chen imagines the possibility of a collective political alliance. Theorized by Michael Hardt and Antonio Negri, the multitude rejects reductive identity politics and acts against capitalism. The multitude depicted in Chen’s work suggests a democratic potential that has the capacity to resist the sustained exploitation and homogenization that exists under neo-liberal globalization. His first video installation, Lingchi: Echoes of a Historical Photograph (2002), not only sets the tone for his later works but also signals a paradigm shift in Taiwanese contemporary art from the national to the global after 2000. I argue that Chen’s aesthetics of the multitude move beyond the contentious issue of national identity that characterizes Taiwan’s postcolonial art in the 1990s and anticipates the formation of a postnational subjectivity.
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Jin Yee Oh. "Recognition of the Reality in the 1990s' Chinese Video Art-focusing on the early video works of Zhang Peili." Korean Journal of Art and Media 17, no. 2 (2018): 119–42. http://dx.doi.org/10.36726/cammp.2018.17.2.119.
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Birringer, Johannes. "Dance and Interactivity." Dance Research Journal 36, no. 1 (2004): 88–111. http://dx.doi.org/10.1017/s0149767700007580.
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A growing number of practitioners in the international community of choreographers and performers has begun to experiment with computer-assisted work linking dance and new technologies. This hardly comes as a surprise, since dance-on-film and videodance had already attracted considerable attention, at least since the 1980s. Earlier experiments, such as the astonishing films by Maya Deren, take us back to the 1940s, and today's motion capture-based animations find their historical roots in late nineteenth century motion studies in chronophotography and early cinema (Muybridge, Marey, Méliès). Furthermore, dancemakers, researchers, and teachers have used film or video as a vital means of documenting or analyzing existing choreographies. Some scholars and software programmers published tools (LabanWriter, LifeForms) that attracted attention in the field of dance notation and preservation as well as among choreographers (e.g., Merce Cunningham) who wanted to utilize the computer for the invention and visualization of new movement possibilities.
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Rhee, Margaret. "Racial Recalibration." Asian Diasporic Visual Cultures and the Americas 1, no. 3 (2015): 285–309. http://dx.doi.org/10.1163/23523085-00103004.
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Widely recognized as the first video artist, Nam June Paik’s artistic career from the 1960s onwards is often understood through his pioneering appropriation of technological developments such as the television and video. Paik foresaw not only the aesthetic potential of video, but also other emerging technologies, such as robotics. While his work in robotic art is less commonly analyzed, it sheds significant light on his position not only as a foremost artist of new media but also on discussions concerning his ethnic identity. This essay demonstrates how, in the 1964 creation of robot K-456 and tv Bra for Living Sculpture, the artist deployed the strategy of racial recalibration—a racial formation that occurs through aesthetic tinkering, hacking, and recreating with emergent technologies that re-wires racial knowledge of the Asian American as robot.
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Cascella, Daniela. "Carl Michael von Hausswolff." Organised Sound 13, no. 1 (2008): 21–29. http://dx.doi.org/10.1017/s1355771808000046.
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AbstractFor over twenty years, Swedish artist Carl Michael von Hausswolff (born 1956 in Linköping) has been giving shape to a range of works which push the boundaries of sound experimentation and reach out into installation art, photography, video, performance and curating projects. Stemming from his experiments with tape and investigations into EVP (Electronic Voice Phenomena) throughout the 1980s and 1990s, and setting up a number of ongoing collaborations with artist Leif Elggren and with a wide range of experimental musicians in the collective, site-specific sound installation freq_out, von Hausswolff's work spans the undefined territory between sound and the visual arts – he has done so, also by organising exhibitions such as the 2nd Göteborg Biennial in 2003. His audio production, using devices such as oscillators, tone generators, microphones attached to electricity circuits, is inextricably linked to his visual and conceptual research, always addressing issues of borders, interior/exterior, liminal states and hidden fluxes of energies. At the forefront of international experimentation, his work has been featured in some of the most important exhibitions and museums in the world, and his audio pieces have been published by the most remarkable avant-garde labels.
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Menotti, Gabriel. "Discursos em torno dos vídeos verticais: a arqueologia de uma proporção "errada" de tela." ARS (São Paulo) 17, no. 35 (2019): 147–65. http://dx.doi.org/10.11606/issn.2178-0447.ars.2019.140526.
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This paper seeks to provide historical references for the examination of contemporary forms of vertical moving images, often considered “wrong” due to their incompatibility with the audiovisual standards established in the West. Deploying an archaeological approach, the paper identifies expressions of verticality in moving images since their first modern developments, encompassing both the birth of cinema and the emergence of video art circuits in the 1980s-90s. These cases serve to underscore the disputed mediality of audiovisual systems. This paper concludes by showing how the negotiation of medium specificities continues through networked platforms and curated events, creating possibilities for the emergence of new technological art forms.
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Blom, Ina. "The Touch through Time: Raoul Hausmann, Nam June Paik and the Transmission Technologies of the Avant-Garde." Leonardo 34, no. 3 (2001): 209–15. http://dx.doi.org/10.1162/002409401750286958.
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This essay outlines the historiographic implications of the strange convergence between Berlin Dadaist Raoul Hausmann's Optophon (1920–1936)—a “synaesthetic” instrument designed to transform sound signals into light signals and vice versa—and Nam June Paik's pioneering 1960s television work. Hausmann articulated a new, “televisual” form of presence, which also implied a new form of tele-tactility. As his notion of tactility returns in Paik's work, the Optophon might be construed as the historical origin of the genre called “video art.” Yet, it could be argued that Hausmann's technological reasoning produced an interruption at the very site where such art-historical legacies are constituted.
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Lipiński, Filip. "Cinematic Art (History) and Mieke Bal's Thinking in Film." Artium Quaestiones 31, no. 1 (2020): 5–37. http://dx.doi.org/10.14746/aq.2020.31.1.
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The article focuses on Mieke Bal’s theoretical considerations of art in terms of film and movement in general. This cinematic frame offers her a conceptual framework for “thinking in film”, a way to rethink not only diverse forms of art, moving and still images, but also, as I argue, methodological models for art history. The text begins with a general outline of the tensions and relations between art history and film/film studies, with a discussion of several cases of the theoretical application of film in the field of art history. Bal’s case, the main subject of the article, is perhaps the most consistent and theoretically advanced attempt at reconceptualizing diverse aspects of art in interdisciplinary, cinematic terms within a larger phenomenon which might called a theoretical dimension of the “cinematic turn”. While I acknowledge the importance and complementary nature of Bal’s artistic practice as a video artist with her theoretical work, due to the limited space of this article, the focus of my text is on her writing. I closely trace and discuss a variety of Bal’s texts, predominantly written over the last 20 years, in which she theorizes and analyzes works in which movement is either explicit, such as video or video installation or implicit, such as painting. In her crucial, relevant books, Thinking in Film. The Politics of Video Installation According to Eija-Liisa Athila (2013) or Emma&Edvard Looking Sideways: Loneliness and the Cinematic, Bal, referring to a number of scholars and thinkers, but most prominently and consistently to Henri Bergson, points to four kinds of movement: literal or represented movement of/in the image, movement related to perception, affective movement and, finally, its political dimension, all of which are discussed in this article. Video installation is an art form which for Bal becomes the best concretization (a contact space) of all of the above aspects of movement, activating “thinking in film”. This involves new reformulations of spatial and temporal dimensions of art, with such concepts as heterochrony and timespace. Moreover, with reference to video art, Bal coined the notion of “migratory aesthetics”, where migration not only literally concerns migrants and immigration but offers a platform to reflect on and renegotiate the issues of movement, stagnation, the everyday and their political dimensions. Last but not least, film, according to Bal, also offers a useful framework for analyzing the experience of art exhibitions. In discussing Bal’s work, I argue that her “cinematic”, conceptual travels in art offer a radical opening of a number of art historical categories and procedures, and I propose to regard her project of “thinking in film” as indicative of a larger changes across disciplines already visible in her earlier work in the 1990s, which involve the productive redefinition of historical and temporal experience, mobilization of perception and the body, relational mode of thinking and vision, affective dimension of experiencing art and the acknowledgment of agency both on the part of the viewer and the artwork.
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Cable, Umayyah. "An Uprising at The Perfect Moment." GLQ: A Journal of Lesbian and Gay Studies 26, no. 2 (2020): 243–72. http://dx.doi.org/10.1215/10642684-8141830.
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This article examines two overlapping controversies at the Institute of Contemporary Art in Boston, Massachusetts, in the early 1990s over the attempted censorship of both Robert Mapplethorpe’s show The Perfect Moment and Elia Sulieman’s Palestinian film and video art exhibition Uprising. By analyzing the print news discourse on these controversies, namely, regarding the representations of children in The Perfect Moment and in two of the Uprising films (Children of Fire by Mai Masri and Intifada: Introduction to the End of an Argument by Suleiman and Jayce Salloum), the author articulates how Palestinian cultural politics were constructed as “politically queer” during the 1990s culture wars, which thereby contributed to the rise of homonormativity, increased visibility of leftist LGBTQ-Palestinian solidarity politics, and the development of Israeli pinkwashing as a political strategy. Through this analysis, the article advances a theory of “compulsory Zionism” as a concept through which to analyze the confluence of racial, ethnic, and sexual politics that haunt and animate Palestine solidarity politics in the United States.
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Kishore, Shweta. "The Promise of Portability: CENDIT and the Infrastructure, Politics, and Practice of Video as Little Media in India 1972–1990." BioScope: South Asian Screen Studies 8, no. 1 (2017): 124–45. http://dx.doi.org/10.1177/0974927617699646.
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Video in the form of “little media” arrived in India in the mid-1970s shortly after Wilbur Schramm proposed the concept in 1973. In this article, I investigate the ways in which the discourse and practices of “little media” were re-formulated in India through specific historical contexts and media formations that assigned it political meanings beyond its initial developmental functions. Taking the case of the important media initiative, Centre for the Development of Instructional Technology (CENDIT), this paper explores the production and circulation of “little media” and the range of context-specific interactive methods the center deployed. The historiographic account of video at this particular juncture contributes to an expansion of Indian screen history. It complicates the dominant understanding of video during this period as a medium for the circulation of commercial cinema with a parallel narrative of purposive and emancipatory video-based initiatives.
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Hartzell, Emily, and Nina Sobell. "Sculpting in Time and Space: Interactive Work." Leonardo 34, no. 2 (2001): 101–7. http://dx.doi.org/10.1162/002409401750184636.
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The authors have experimented with the Web to develop its potential for creative, collaborative expression and to explore and sculpt the boundaries between physical space and cyberspace. Their work grew directly out of Nina Sobell's interactive video installations of the early 1970s, in which she used the medium to sculpt space and time and to create bridges for shared human experience. Their inspiration in Park Bench has been to address the physical disconnectedness of the information age by creating a safe place to congregate in cyberspace. Their work has inspired the development of new technologies, including a wireless telerobotic video camera for streaming video to the Web from remote locations.
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Wainwright, Leon. "Bodily relations and reciprocity in the art of Sonia Khurana." Cultural Dynamics 29, no. 4 (2017): 255–74. http://dx.doi.org/10.1177/0921374017730163.
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This article explores the significance of the ‘somatic’ and ‘ontological turn’ in locating the radical politics articulated in the contemporary performance, installation, video and digital art practices of New Delhi-based artist, Sonia Khurana (b. 1968). Since the late 1990s, Khurana has fashioned a range of artworks that require new sorts of reciprocal and embodied relations with their viewers. While this line of art practice suggests the need for a primarily philosophical mode of inquiry into an art of the body, such affective relations need to be historicised also in relation to a discursive field of ‘difference’ and public expectations about the artist’s ethnic, gendered and national identity. Thus, this intimate, visceral and emotional field of inter- and intra-action is a novel contribution to recent transdisciplinary perspectives on the gendered, social and sentient body that in turn prompts a wider debate on the ethics of cultural commentary and art historiography.
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Pyka, Marcus. "The power of violins and rose petals: The Eurovision Song Contest as an arena of European crisis." Journal of European Studies 49, no. 3-4 (2019): 448–69. http://dx.doi.org/10.1177/0047244119859178.
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This paper explores the interconnection between European crises and the Eurovision Song Contest, the largest non-sports-related TV show on earth, which has run as an annual music competition of European countries since 1956. The paper explores the development of the actual show, based on existing audio and video recordings, as well as selected aspects of the respective media coverage. Special focus is paid to the creation of the contest in a post-catastrophic Europe, specifically the first show in Lugano in 1956; the apparent decline of the show’s appeal in Western Europe in the 1980s and 1990s; and finally the contest held in Moscow in 2009, when the global financial crisis had just reached Europe. This research shows that ‘crisis’ is less an objective state, but rather a rhetorical strategy to communicate one’s perceptions of the time, illuminating the significance of the Eurovision Song Contest as an arena for European affairs.
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Guerrero-Hernández, Juan Carlos. "The Threefold Topography of Performance: Drawing, Action, and Video in Maria Evelia Marmolejo's Anónimo 4." TDR/The Drama Review 64, no. 4 (2020): 129–46. http://dx.doi.org/10.1162/dram_a_00968.
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María Evelia Marmolejo is one of the most important performance artists in the 1980s in Latin America. Her video performance Anónimo 4 (1982) outlines a threefold topography that accounts for performance in conceptual, bodily, and communicative terms, and asks viewers to understand video performance as a virtual aspect of communication and collaboration between performing embodied subjects and performing images and sounds.
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Andreeva, Ekaterina Yu. "Sovietness in the Art of Vladislav Mamyshev-Monroe." Vestnik of Saint Petersburg University. Arts 11, no. 1 (2021): 69–82. http://dx.doi.org/10.21638/spbu15.2021.105.
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The article is devoted to the recycling of Soviet images in the works of Vladislav Mamyshev-Monroe from 1987–2006. In his multidisciplinary work, Vladislav Mamyshev (1969–2013),an artist, writer, actor, professor of the original genre department of the New Academy of Fine Arts, repeatedly reproduced images from Soviet cinema and pop culture. In the make-up of Marilyn Monroe, he performed Soviet songs at concerts and in video clips. He portrayed Alla Pugacheva, Lenin and Krupskaya, an episode of Stierlitz meeting with his wife from the movie Seventeen Moments of Spring in performances and photo portraits. Mamyshev also wrote several philosophical treatises on the Russian and Soviet mentality and history. Mamyshev’s existential performance, associated with ancient practices of holy foolishness and parrhesia, is considered in the dynamics of post-Soviet history. In 1990, in remakes of Politburo portraits, he transformed the Soviet gerontocrats into the beauties of world cinema, “correcting the karma” of the Soviet regime. In a Pirate Television report on August 19, 1991, Mamyshev opposed the abolition of Gorbachev’s reforms. In the early 1990s, he put forward the idea of a fabulous folklore matrix of the Russian and Soviet unconscious and noted the beginning of the contamination of Russian and Soviet history in the post-Soviet consciousness. In the late 1990s, Mamyshev in the image of Lyubov Orlova explored the complex of Soviet ideas about perfection, which have both a mobilizing and deadening socio-cultural impact. Representing Soviet images, Mamyshev focuses on their totalitarian state message and at the same time their reflection in the individual consciousness, aimed at finding ideal love and happiness, showing the inevitable tragic break in the functional connection between Soviet ideology and Russian reality.
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Caston, Emily. "The Pioneers Get Shot: Music Video, Independent Production and Cultural Hierarchy in Britain." Journal of British Cinema and Television 16, no. 4 (2019): 545–70. http://dx.doi.org/10.3366/jbctv.2019.0498.
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This article identifies and summarises the main findings of the AHRC research project ‘Fifty Years of British Music Video, 1966–2016’. It contextualises the history of music video as a film practice within an unspoken cultural hierarchy of screen arts widely shared in universities, policy circles and the British Film Institute. The article documents the main stages in the development of the music video industry and highlights the extent to which the pioneers served as early adopters of new technologies in videotape, telecine and digital film-making. The ACTT consistently lobbied against music video producers, as did the Musicians’ Union, and consequently music video producers emerged from the 1980s with virtually no protection of their rights. The ACTT's issue was new video technology which it opposed. It also opposed offline editing on video tape because it would lead to redundancies of film editors and potentially required fewer post-production crew. The MU's issue was royalty payments to session musicians and lip synch. The music video industry has functioned as a crucial R&D sector and incubator for new talent and new technologies in the British film and television industries as a whole, without experiencing any of the financial rewards, cultural status or copyright protections of the more esteemed ‘screen arts’.
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Mattiolli, Isadora Buzo. "O corpo é a camuflagem: construções ficcionais de si na produção artística de mulheres nos anos 1970." Revista PHILIA | Filosofia, Literatura & Arte 2, no. 2 (2020): 216–43. http://dx.doi.org/10.22456/2596-0911.104596.
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A crítica feminista elaborou a questão da representação na arte de diferentes maneiras. Nessa perspectiva crítica, um dos problemas são as imagens das mulheres feitas por um olhar masculino ao longo das narrativas tradicionais da história da arte. Respondendo a esse problema, algumas artistas realizaram ações para as câmeras de vídeo e fotografia. Nestas imagens, elas utilizaram o próprio corpo para demonstrar as construções ficcionais dos gêneros. Nesse artigo, analiso esses trabalhos pelas seguintes leituras: a crítica aos rituais de feminilidade, o feminino monstruoso e a identidade como categoria múltipla, tendo como marco teórico as contribuições de Janet Wolff e Jayne Wark. Também me apoio no discurso das artistas sobre seus métodos de trabalho, a partir de entrevistas inéditas. Palavras-chave: Representação. Corpo. Crítica feminista. Vídeo. Fotografia. AbstractFeminist criticism raised the issue of representation in art in different ways. In this critical perspective, one of the problems is the images of women made by the male gaze throughout the traditional narratives of art history. Responding to this problem, some artists performed actions for video and photography. In these images, they used their own bodies to demonstrate the fictional constructions of gender. In this article, I analyze these works through the following readings: the criticism of femininity rituals, the monstrous feminine and identity as a multiple category, having as a theoretical framework the contributions of Janet Wolff and Jayne Wark. I also rely on the artists' discourse about their work methods, based on unpublished interviews.Keywords: Representation. Body. Feminist criticism. Video. Photography.