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Before Projection: Video Sculpture 1974-1995
Before Projection: Video Sculpture 1974–1995 shines a spotlight on a body of work in the history of video art that has been largely overlooked since its inception. Exploring the connections between our current moment and the point at which video art was transformed dramatically with the entry of large-scale, cinematic installation into the gallery space, Before Projection presents a tightly focused survey of monitor-based sculpture made since the mid-1970s. The group exhibition features works by Dara Birnbaum, Ernst Caramelle, Takahiko Iimura, Shigeko Kubota, Mary Lucier, Muntadas, Tony Oursler, Nam June Paik, Friederike Pezold, Adrian Piper, Diana Thater, and Maria Vedder.
From video art’s beginnings, artists engaged with the sculptural properties of the television set, as well as the possibilities afforded by combining multiple moving images next to each other. Artists assembled monitors in varied configurations and video walls, and, from the 1980s onwards, incorporated TV sets into elaborate environments and architectural settings. In concert with technological advances, video editing and effects also grew more sophisticated. These video works articulated a range of conceptual and thematic concerns related to the television medium, seriality, figuration, landscape, and identity. Much of this work was developed in critical opposition to television and cinema alike. The material heft of the cube monitor, before the advent of the flat screen, also anchored these works firmly in three-dimensional space.
Before Projection focuses on the period after very early experimentation in video and before video art’s full institutional arrival—coinciding with the wide availability of video projection equipment—in the gallery and museum alongside painting and sculpture. Proposing to examine what aesthetic claims these works might make in their own right, the exhibition aims to resituate monitor sculpture more fully into the narrative between early video and projection as well as assert its relevance for the development of sculpture over the course of the 1980s in general.
Before Projection: Video Sculpture 1974-1995 is organized by Henriette Huldisch, Director of Exhibitions and Curator, MIT List Visual Arts Center. The exhibition is accompanied by a fully illustrated catalogue edited by Henriette Huldisch with additional contributions by Edith Decker-Phillips and Emily Watlington, published by Hirmer Verlag in association with the MIT List Visual Arts Center.
From video art’s beginnings, artists engaged with the sculptural properties of the television set, as well as the possibilities afforded by combining multiple moving images next to each other. Artists assembled monitors in varied configurations and video walls, and, from the 1980s onwards, incorporated TV sets into elaborate environments and architectural settings. In concert with technological advances, video editing and effects also grew more sophisticated. These video works articulated a range of conceptual and thematic concerns related to the television medium, seriality, figuration, landscape, and identity. Much of this work was developed in critical opposition to television and cinema alike. The material heft of the cube monitor, before the advent of the flat screen, also anchored these works firmly in three-dimensional space.
Before Projection focuses on the period after very early experimentation in video and before video art’s full institutional arrival—coinciding with the wide availability of video projection equipment—in the gallery and museum alongside painting and sculpture. Proposing to examine what aesthetic claims these works might make in their own right, the exhibition aims to resituate monitor sculpture more fully into the narrative between early video and projection as well as assert its relevance for the development of sculpture over the course of the 1980s in general.
Before Projection: Video Sculpture 1974-1995 is organized by Henriette Huldisch, Director of Exhibitions and Curator, MIT List Visual Arts Center. The exhibition is accompanied by a fully illustrated catalogue edited by Henriette Huldisch with additional contributions by Edith Decker-Phillips and Emily Watlington, published by Hirmer Verlag in association with the MIT List Visual Arts Center.
143 pages, Paperback
Published March 1, 2018
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February 6, 2019
Very good catalog of an exhibition documenting early video art, including many pioneering pieces based on idiomatic properties of early analog video cameras, recorders, and monitors.
Because of the interactive nature of many of these works, some of the pieces are not well represented by still photography or watching the resulting videotapes apart from the active installation as exhibited. As with most exhibition catalogs, this book can’t replace the experience of seeing the works themselves, but the texts about the artists and works and iconic photos offer some sense of these historic pieces.
Because of the interactive nature of many of these works, some of the pieces are not well represented by still photography or watching the resulting videotapes apart from the active installation as exhibited. As with most exhibition catalogs, this book can’t replace the experience of seeing the works themselves, but the texts about the artists and works and iconic photos offer some sense of these historic pieces.
Displaying 1 of 1 review