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Books > Reference & Interdisciplinary > Museums & museology
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The Problematic of Video Art in Museum, 1968-1990 (Hardcover, New)
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The Problematic of Video Art in Museum, 1968-1990 (Hardcover, New)
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Throughout the mid-1970s until the early 1990s, video art as
vehicles for social, cultural, and political analysis were
prominent within global museum based contemporary art exhibitions.
For many, video art during this period stood for contemporary art.
Yet from the outset, video art's incorporation into art museums has
brought about specific problems in relation to its acquisition and
exhibition. This book analyses, discusses, and evaluates the
problematic nature and form of video art within four major
contemporary art museums--the Museum of Modern Art (MoMA) in New
York, the Georges Pompidou National Centre of Art and Culture in
Paris, the Tate Gallery in London, and the Art Gallery of New South
Wales (AGNSW) in Sydney. In this book, the author discusses how
museum structures were redefined over a twenty-two year period in
specific relation to the impetus of video art and contends that
analogue video art would be instrumental in the evolution of the
contemporary art museum. By addressing some of the problems that
analogue video art presented to those museums under discussion,
this study penetratingly reveals how video art challenged
institutional structures and had demanded more flexible viewing
environments from those structures. It first defines the classical
museum structure established by the Louvre Museum in Paris during
the 19th century and then examines the transformation from this
museum structure to the modern model through the initiatives of the
New York Metropolitan Museum to MoMA in New York. MoMA was the
first major museum to exhibit analogue video art in a concerted
fashion, and this would establish a pattern of acquisition and
exhibition that became influential for other global institutions to
replicate. In this book, MoMA's exhibition and acquisition
activities are analysed and contrasted with the Centre Pompidou,
the Tate Gallery, and the AGNSW in order to define a lineage of
development in relation to video art. Extremely well researched and
well written, this book covers an exhaustive, substantive, and
relevant range of issues. These issues include video art (its
origin, significance, significant movements, institutional
challenges, and relationship to television), the establishment of
the museum (its patronage and curatorial strategy) from the Louvre
to MoMA, the relationship of MoMA to the Metropolitan Museum of
Art, a comparative analysis of three museums in three countries on
three continents, a close examination of video art exhibition, a
closer look at three seminal video artists, and, finally, a
critical overview of video art and its future exhibition. This
unique book also covers an important period in the genesis of video
art and its presentation within significant national and global
cultural institutions. Those cultural institutions not only
influence a meaningful part of the cultural life of four unique
countries but also represent the cultural forces emerging in
capital cities on three continents. By itself, this sort of
geographic and institutional breadth challenges any previous study
on the subject. This book successfully provides a historical
explanation for the museum/gallery's relationship to video art from
its emergence in the gallery to the beginnings of its acceptance as
a global art phenomenon. Several prominent video artists are
examined in relation to the challenges they would present to the
institutionalised framework of the modern art museum and the
discursive field surrounding their practice. In addition, the book
contains a theoretical discussion of the problems related to video
art imagery with the period of High Modernism; it examines the
patterns of acquisition and exhibition, and presents an analysis of
global exchange between four distinct major contemporary art
institutions. The Problematic of Video Art in the Museum, 1968-1990
is an important book for all art history and museum collections.
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