The best way to understand and to critique video installation – it is work that, paradoxically, for a supposedly mass, reproducible medium, reinforces the idea of the aura of the artwork. In this week we travel, as a group, to see one or more large-scale installations in-situ. The venue will be advised at some point in the first five weeks of term.
Benjamin, W. ‘The Work of Art in the Age of its Mechanical Reproducibility’ (Third Version) in Eiland, H. & Jennings, M.W. (eds.) Walter Benjamin, Selected Writings, Volume 4: 1938 – 1940 (Cambridge, Mass.: The Belknap Press of Harvard University Press, 2003)
Townsend, C. ‘Call Me Old Fashioned, But…: Meaning, Singularity and Transcendence in the Work of Bill Viola’ in Townsend, C. (ed.) The Art of Bill Viola (London: Thames & Hudson, 2004)
Week Seven: The Dynamics of Installation: From TV screen to projection, plasma screen and spectacle
Having seen installations in-situ, we now turn to a historical survey of how video moved from being a small scale medium, using monitors and small scale projections, often with a clear relationship to “liveness”, to become the dominant form of art in contemporary art galleries, with a very different relationship to the spectator and a very different imagination as art object. We also begin to make a theoretical critique of installation, examining the phenomenological constraints and possibilities within their structures.
Bill Viola The Passing, (1991)
Doug Aitken, Into the Sun, (1999)
Kaufman, R, ‘Aura, Still’
October, 99 (Winter 2002) pp. 45 - 80
Neumaier, O. ‘Space, Time, Video, Viola’ in C. Townsend (ed.) The Art of Bill Viola (London: Thames & Hudson, 2004)
Townsend, C. ‘In My Secret Life: Self, Space and World in Room for St. John of the Cross, 1983’ in C. Townsend (ed.) The Art of Bill Viola (London: Thames & Hudson, 2004)