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School of Art and Design · ANU College of Arts and Social Sciences
This course examines the histories, theories, and diverse practices of contemporary moving image art. Focusing on the developments of moving image practices from the 1960s to the present day, the course explores how moving images and time-based practices have become such central components of contemporary art. We will critically explore moving image art in relation to other art forms (including performance, photography, and installation), as well as in relation to other media formats such as the cinema, television, and social media. Key topics to be covered will include: Theories of spectatorship; Experimental and expanded cinema; The birth of video art; Australian media art histories; Digital, multimedia & interactive art; Contemporary installation art.
Written Analysis Exercise (1000 words)
Learning outcomes 1, 2, 3, 4, 5
Research Essay (2000 words)
Learning outcomes 1, 2, 3, 4, 5
Take-Home Test (1000 words)
Learning outcomes 1, 2, 3, 4
Participation
Learning outcomes 1, 2, 3, 4
130 hours of total student learning time made up from: a) 36 hours of contact over 12 weeks: 24 hours of lectures and screenings; and 12 hours of tutorials; and b) 94 hours of independent student research, reading and writing. Contact hours may include visits to major art institutions in Canberra. Other Information This course involves screenings of films, videos and moving image artworks. Every attempt will be made to make these available online through ANU systems, however copyright requirements and artwork format restrictions mean that this may not always be possible. Attendance at screenings and lectures is therefore expected (in accordance with any COVID-19 restrictions and ANU campus safety alert levels). In order to give students access to a wide variety of moving image art, a small number of screenings may be run off-campus at National Cultural Institutions (where possible). Please note that these institutions may not allow works from their collections to be recorded for asynchronous viewing.
Not applicable Preliminary Reading Balsom, Erika. After unique-ness: A history of film & video art in circulation. New York: Columbia University Press, 2017. Bellour, Raymond. Between-the-Images. Zurich: JRP/Ringier, 2012. Connolly, Maeve. The place of artists' cinema: Space, site and screen. Bristol, UK; Chicago, USA: Intellect, 2009. Connolly, Maeve. TV Museum: Contemporary Art and the Age of Television. Bristol, UK; Chicago, USA: Intellect, 2014. Cubitt, Sean. Videography: Video media as art and culture. Basingstoke: Macmillan, 1993. Elwes, Catherine. Installation and the moving image. New York: Columbia University Press, 2015. Frampton, Hollis. Circles of confusion: film, photography, video: texts 1968-1980. Rochester, NY: Visual Studies Workshop Press, 1983. Graham, Beryl and Sarah Cook. Rethinking curating: Art after new media. Cambridge, Mass.: MIT Press, 2010. Grau, Oliver. Virtual art: From Illusion to Immersion. Cambridge, Mass.: MIT Press, 2003. Iles, Chrissie. Into the light: The projected image in American art, 1964-1977. New York: Whitney Museum of American Art, 2001. Iles, Chrissie. Dreamlands: Immersive Cinema and Art 1905–2016. New York: Whitney Museum of American Art, 2016. Jennings, Gabrielle, ed. Abstract video: The moving image in contemporary art. Oakland: University of California Press, 2015. Krauss, Rosalind. "Video: The Aesthetics of Narcissism." October 1 (1976): 51-64. Marks, Laura U. Hanan al-cinema: Affections for the moving image. Cambridge, Mass.: MIT Press, 2015. Meigh-Andrews, Chris. A History of Video Art. 2nd ed. New York: Bloomsbury Academic, 2014. Paul, Christiane. Digital Art. 3rd edition. London: Thames & Hudson, 2015. Perkins, Matthew, ed. Video Void: Australian Video Art. North Melbourne: Australian Scholarly Publishing, 2014. Rees, A.L. et al, eds. Expanded cinema: Art, performance, film. London: Tate, 2011. Summerhayes, Catherine. The moving images of Tracey Moffatt. Milano: Charta, 2007. Westgeest, Helen. Video Art Theory. Chichester: Wiley Blackwell, 2016.