Term: Winter 2017
Time and Location
Wednesday 2:30 PM – 6:30 PM, Goldfarb Fine Arts 330 and 328
Video in the Expanded Field is a studio course dedicated to an exploration of video through its interdisciplinary intersections with sculptural, installation, performative, musical, and other practices. The history of video will be explored, from the pioneers of the 1960s and 1970s to internet-based and real-time environments, from documentary to reality-based practices, from single channel to video installation practices, from early activist video to explorations of presentday panoptic conceptions, from early filmic practices to materialist / structuralist conceptions, to a study of the framing mechanisms of television from its beginnings to the present, through both analog and digital manifestations.
Contemporary manifestations will be studied throughout this course in the context of historical, pioneering practices, including the work of video artists Vito Acconci, Peggy Ahwesh, Francis Alys, Atlas Group, John Baldessari, Yael Bartana, Lynda Benglis, Guy Ben Ner, Sadie Benning, Dara Birnbaum, Colin Campbell, Peter Campus, Aleesa Cohene, Phil Collins, Douglas Davis, Valie EXPORT, Omer Fast, Fischli & Weiss, General Idea, Douglas Gordon, Dan Graham, Halflifers, David Hall, Gary Hill, Nancy Holt, Joan Jonas, Mike Kelley, Michael Klier, Sharon Lockhart, Deirdre Logue, Manu Luksch, Paul McCarthy, Karen Mirza & Brad Butler, Robert Morris, Muntadas, Bruce Nauman, Annabel Nicholson, Yoko Ono, Dennis Oppenheim, Nam June Paik, Charlemagne Palestine, Lis Rhodes, Martha Rosler, Christoph Schlingensief, Richard Serra, John Smith, Lisa Steele, Superflex, Surveillance Camera Players, Aldo Tambellini, Sam Taylor-Wood, Ryan Trecartin, Vasulkas, Bill Viola, Hannah Wilke, Artur Zmijewski; film-makers Martin Arnold, Craig Baldwin, James Benning, Stan Brakhage, Bruce Conner, Harun Farocki, Hollis Frampton, Ernie Gehr, Birgit & Wilhelm Hein, Ken Jacobs, Peter Kubelka, Chris Marker, Yvonne Rainer, Paul Sharits, Jack Smith, Michael Snow, Dziga Vertov, Andy Warhol; and the video collective movement of the early 1970s, including Raindance Foundation, Videofreex, Ant Farm, Paper Tiger Television and Top Value Television (TVTV).
The student will produce video projects applying digital technologies within the context of their own discipline and practice, or as freestanding works. Potential projects may include video processing experiments, installation / spatialized works (monitors, televisions or projections), surveillance / CCTV critiques, collage / appropriation-based work, crtitiques of popular usages, durational performance pieces, webcam-enabled internet-networked video, and will involve the use of professional editing / mixing systems (Adobe Premiere / After Effects) and professional digital acquisition media (HD cameras).
The course consists in weekly lectures focused on the presentation of artwork and ideas germane to the course, paired with lab time geared towards working out technical and conceptual aspects of the student’s projects. In-process work will be periodically discussed in an environment of open exchange, in which alternate / future creative, conceptual or technical ramifications will be elaborated upon.
In-class tutorials for professional video editing software (Adobe Premiere / After Effects – installed on desktop computers in 328) and digital video acquisition media (a wide range of professional HD cameras) will take place periodically in the VAAH computer lab (328). (See our comprehensive list of Time-Based Area equipment!).