By Chris Meigh-Andrews
Publish 12 months note: First released November seventh 2013 (2nd), first variation (2006)
A background of Video Art is a revised and extended variation of the 2006 unique, which extends the scope of the 1st version, incorporating a much wider diversity of artists and works from around the globe and explores and examines advancements within the style of artists’ video from the mid Nineties as much as the current day. moreover, the recent version expands and updates the dialogue of theoretical thoughts and ideas which underpin modern artists’ video.
Tracking the altering kinds of video artwork with regards to the revolution in digital and electronic imaging that has taken position over the last 50 years, A background of Video Art orients video artwork within the wider artwork historic context, with specific connection with the shift from the structuralism of the overdue Nineteen Sixties and early Nineteen Seventies to the post-modernist issues of the Nineteen Eighties and early 1990s.
The new edition additionally explores the results of the internationalisation of artists’ video within the interval top as much as the hot millennium and its issues and preoccupations together with post-colonialism, the post-medium and the effect and impression of the net.
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Additional resources for A History of Video Art (2nd Edition)
46 This expression of solidarity by industrial workers and ‘peasants’ with the objectives of tenant farmers was followed by autonomous meetings among labourers themselves to articulate their own grievances. Thomas Campbell Foster reported: [The labourers] are holding meetings every night on the hills in [Carmarthenshire] and Cardiganshire. . 47 Rebecca’s historians have interpreted this development as a watershed in the movement’s subsequent trajectory. Unrest continued to spread beyond south-west Wales throughout late summer and autumn, with several disturbances in Radnorshire and Montgomeryshire carried out with ‘all the pomp and paraphernalia of Rebeccaism’, as well as the first attack on a toll gate in Brecon on 12 October.
That these counter-theatrical elements were fundamental to Rebeccaism is demonstrated by the degree to which the movement mirrored the ritual form and symbolic content of ceremony, festival and community ritual. Contemporary sources attest to the incidence and importance of civic ritual in Rebecca’s country. In June 1843, following panicked reporting of the mass demonstration at Carmarthen, the Welshman sought to reassure its readers with a tongue-in-cheek but indicative survey of the ritual and ceremony present in everyday Welsh life: [Although assemblies of over a hundred may appear alarming to English readers] in Wales it is quite different.
47 Life in 1840s Carmarthenshire cannot be conceived of simply as a symbol-laden text or drama: several aspects of the use of costume and symbol by Rebeccaites directly reflect both the conditions of their production and the targets of their antagonism. The form in which action was taken by Rebeccaites was directly linked to surrounding issues including the altered economic situation occasioned by the New Poor Law, and to changes in land ownership and use. In wider Rebeccaite activity, as explored in Chapters 5, 6 and 7, the feminine signifiers used by participants, and the ways in which Rebecca’s public image took shape, utilised what female archetypes were available in contemporary society, culture and politics.