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Video Art - 2000's

broad overview of 2000's video art
by

Ellen Mueller2

on 6 February 2017

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Transcript of Video Art - 2000's

Video Art
in the 2000's

Looking back at major
events of the 2000's
Economic Collapse 2007-2008
Adoption of the Euro - early 2000's
Hurricane Katrina - 2005
Jonathan Kessler: The Palace at 4 A.M., 2005
Tony Oursler
Michel Gondry
9/11 and "The War on Terror"
that followed
Election of Barack Obama in 2008
2002, January 1
Euro notes & coins become legal tender in 12 countries and "dual circulation" begins.
Guy Ben Ner: Moby Dick, 2000
His art, resonant with socio-political allusion, is deep but far from bleak. His comic soap-opera style videos retell stories appropriated from other cultures and feature his family and household objects in a gloriously amusing, jerky slap-stick style.
Shirin Neshat: Passage, 2001
Set amidst a stark and timeless desert landscape, Shirin Neshat’s stirring video presents the rituals and customs of a Muslim funeral ceremony, revealing a powerful relationship between people and place.
Doug Aitken: Sleepwalkers, 2007
This nighttime installation comprises 8 large moving images projected around the Museum of Modern Art's facade, enlivening the architecture with the nocturnal journeys of 5 city people -- a bike messenger, an electrician, a postal worker, a businessman, and an office worker -- as they awaken in the evening and make their way into the city. It is a broken narrative, without beginning or end. It is a pioneering piece of site-specific cinema.
Sam Taylor-Wood: Still Life, 2001
2002 - The Endoscope Camera
a 11x30mm capsule able to be swallowed, is invented, which transmits images from inside the body
2002
Approximately 2/3 of all middle and high schools in the USA are equipped with video surveillance systems
Jennifer and Kevin McCoy -- 'Soft Rains' 2003
The gee-whiz factor is not as great as you'd expect given the technological ingenuity that has gone into it; indeed, it all seems oddly primitive. But it is still an engaging show, and what it suggests about the fragmentation and multiplication of reality by technologies of representation is worth pondering.
MTAA: 1 Year Performance, 2004
"1 year performance video"

takes Sam Hsieh's "One Year
Performance" 1978-1979
(aka Cage Piece) and
updates it.

1st, we've taken the act of
living in a cell & transformed
it into video clips, which are
edited dynamically at
runtime so that every viewer
sees a slightly different cut.
The clips are organized
according to the clock: if you
access the piece in the morning,
you see us doing morning things;
if you access late at night, you see us sleeping.
2nd, we've transferred the onus of a 1-yr commitment to the work from the artist to the viewer. The piece will be realized fully only when a viewer runs it for 1 year. As M.River put it:
"In the work, we mimic endurance without doing the labor. We also know the audience can just close the browser and walk away. No one needs to suffer on this one. The failure is built-in at the front end."
Will a viewer ever complete the work? It's doubtful.
Referencing issues relevant to contemporary society including politics, war, advertising, propaganda, and surveillance, Kessler's work thrusts the viewer directly into a complex visual experience. Though sources of inspiration and information are varied and include kabuki, Apocalypse Now, and reality television such as The Swan, The Palace at 4 A.M. ultimately speaks to the history of image production and representations of warfare.
Ryan Trecartin
"I-BE AREA (Pasta and Wendy M-PEGgy)"
[2007]
Trecartin's fantastical video narratives seem to be conjured from a fever dream. Collaborating with an ensemble cast of family and friends, Trecartin merges sophisticated digital manipulations with footage from the Internet and pop culture, animations, and wildly stylized sets and performances.
The Nightwatch
- Francis Alÿs (2004)
Full transcript