Edited by Kathy High and Sherry Miller Hocking and Mona Jimenez
This title presents stories of the development of early video tools and systems designed and built by artists and technologists during the late 1960s and 70s. …
by Kevin Atherton
FLOOD is delighted to announce the publication of Kevin Atherton’s Auto-Interview, extending a lifelong series of work where the artist has interviewed himself on video. …
by Julia Knight and Peter Thomas
With a Foreword by Geoffrey Nowell-Smith
From Hollywood blockbusters to artists’ film and video, …
Continue reading “Reaching Audiences Distribution and Promotion of Alternative Moving Image”
David Curtis, Al Rees, Duncan White and Steven Ball (eds)
Expanded Cinema includes some of the most innovative and challenging artworks of modern times. …
In recent years the use of film and video by British artists has come to widespread public attention. Jeremy Deller, …
Continue reading “A History of Artists’ Film and Video in Britain, 1897-2004 by David Curtis”
For artists working with moving image in the late twentieth century, the past forty years… more>
View a pdf of the book jacket here. …
Continue reading “Experimental Film and Video – Edited by Dr. Jackie Hatfield”
ISBN: 1845202198
Published November 2006 by Berg, Oxford
More Information here. …
Continue reading “A History of Video Art – by Chris Meigh-Andrews”
“The past three decades have seen the rapid and vibrant growth of video art in Britain, but there has been little detailed analysis or critical recognition of this work. …
Continue reading “Diverse practices: a critical reader on British video art – by Julia Knight”
Exhibition catalogue edited by Catherine Elwes and Chris Meigh-Andrews
Available at Tate Modern and FACT Liverpool bookshops, …
Continue reading “Analogue: Pioneering Video from the UK, Canada and Poland (1968-88)”
Video art dominates the international art world to such an extent that its heady days on the radical fringes are sometimes overlooked often unknown. …
Continue reading “Video Art: A Guided Tour – by Catherine Elwes”
