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In the mid-1970s the group Laboratory of Presentation Techniques (LPT) was active at the Academy of Fine Arts in Katowice. The artists conducted experiments and formal searches, exploring the potential of film, performance, and a new medium: video. LPT was the first in Silesia, the second in Poland, and one of the first artistic groups in Europe dealing with video art. Looking at the artistic path of Grzegorz G. Zgraja, the last of the artists, as well as Jadwiga and Jacek Singer's works, the paper analyzes the most pivotal artistic achievements of the group. Based on the interviews and archival research, the author reconstructs LPT's artistic contribution to European media art and the reasons these pioneers of media art were forgotten. [ABSTRACT FROM AUTHOR]

This paper calls for a reassessment of early-stage Korean avant-garde and experimental art as the cornerstone of Korean media art. The aim is to discern a new genealogy of media art in Korea by tracing and linking the activities of early avant-garde artists and media art pioneers who have been neglected in the dominant art historiography, which has shown a preference for painting and video art. My detailed analysis of the experimental artists of the 1960s and 1970s, small groups in the mid-1980s, and the Art Tech Group in the early 1990s demonstrates how they revealed and articulated their spirit of resistance against academism and the mainstream using technology, thus following a different trajectory from that of the avant-garde and media art in Europe and North America. [ABSTRACT FROM AUTHOR]

This article explores how diasporic Chinese video artists present familial histories and tales of cross-cultural exchange in the context of an exhibition I am curating, Another Beautiful Country: Moving Images by Chinese American Artists, at the University of Southern California (USC) Pacific Asia Museum. I discuss projects by featured artists Richard Fung and Patty Chang. These artists' experimental documentaries and performative videos foster deep personal discoveries that defy the late-capitalist obsession with the new as defined by youth, novelty, and the next trend, providing revelatory insights through recuperative engagements with what has come before. In analyzing artworks by Fung and Chang, I also reference related texts by/about artists and historical figures including Walter Benjamin, Anna May Wong, and Zhang Ailing, who emigrated from the People's Republic of China to the United States in the 1950s and whose special collections in the USC Libraries helped inform the exhibition's programming. I also interweave my own related familial histories and share some (not-so-new) curatorial ideas for immersing audiences in intercultural art and reflection. [ABSTRACT FROM AUTHOR]

Copyright of Pós: Revista do Programa de POS-Graduacao Em Artes - EBA/UFMG is the property of Pos - Programa de Pos-graduacao em Artes (PPG-Artes) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The short video Ch'u Mayaa (Maya Blue, 2017) by artist Clarissa Tossin uses the Barnsdall (or Hollyhock) House, one of five Southern California textile block homes by Frank Lloyd Wright built in the early 1920s, as the setting for a dance performance by the choreographer Crystal Sepúlveda. Without dialogue or narration, the video raises complex issues about the use and appropriation of imagery and designs from the ancient Americas, and the ways in which a structure from the past, now designated an architectural landmark, can be reframed by contemporary artists. The essay concludes with a brief discussion of the author's collaboration with Mexican artist Mariana Castillo Deball, a playful conceptual project which also highlights the relationship between the architecture of Frank Lloyd Wright and that of the ancient Maya. [ABSTRACT FROM AUTHOR]

Copyright of Arte y Políticas de Identidad is the property of Servicio de Publicaciones de la Universidad de Murcia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Since 1998, profound changes have occurred in Iranian Art in terms of concept and aesthetics. From this route, the use of new media like video and the handling of social and humanitarian issues have become widespread. new art's mission is to pursue its cause on universal issues such as global environmental issues and humanitarian disasters. In the leading research, the topic explored is the attention of Iranian video artists to the environmental problems. In this article, 9 works from the Kule Video project related to the Video Artist site have been reviewed and it looks at how contemporary artists pay attention to their environment. As a result of the research, the interests of İranian contemporary artists in video art, the artists' approaches to the environment, their artistic expression and finally the emergence of the environmental, urban and psychological of the society were examined. These artists look at environmental issues with critical, social, cultural, political, philosophical and psychological approaches and seek to face the environment from personal perspectives, which can be divided into four cases: 1. Artist relationship with flora and nature 2. The artist's relationship with fauna 3. The artist's relationship with the city 4. The artist's relationship with man and society. The artists used aesthetics such as kitsch, collage, ready-made object, appropriation, concept rather than formalism, which are the characteristics of Contemporary Art in their works. In addition to these, strategies such as contrasts, distorted aesthetics and approaches such as timeless and placeless situations reflect their critical expressions in their works and raise awareness by revealing environmental crises. This research has done with a descriptive analytical approach. The method of collecting information was library method and viewing and checking the Works of artists through electronic sources. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Norba: Revista de Arte is the property of Servicio de Publicaciones de la Universidad de Extremadura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Croma is the property of Revista Croma and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Estúdio (1647-6158) is the property of Revista Estudio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article analyzes the relationship between street art and video games as a new type of art practice in urban space. To illustrate this relationship, we analyze the work of the French street artist known as Invade. This artist has appropriated the characters from Space Invaders classic video game to build his artistic identity, transferring them from the digital space of the screen to the public space of the street. [ABSTRACT FROM AUTHOR]

The article reports on the festival of photography and video art Photoimage 2018 Photoimage is the most important event in the field of photography and video art of the Dominican Republic and the Caribbean. The broad and varied participation of Dominican and foreign artists constituted a multi-cultural dialogue enrichment that was extended throughout the country.

An essay is presented that examines the work of the contemporary artist Rose Lowder. Particular focus is given to her work in film and video art. Additional topics discussed include her film "Jefferson Presents," how her work explores the themes of time and space, and her birthplace in the city of Lima, Peru.