This dissertation develops a history of experimental art emerging in India in the final decades of the twentieth century. It addresses the turn to video, performance and mixed-media installation – conceptually driven, circulation friendly, critical artistic modes – by artists who share a generational consciousness, shaped in part by their class position and metropolitan location. My arguments are constructed through a historical and formal analysis of significant transformations in the works of two Bombay-based artists, Nalini Malani (b. 1946) and Rummana Hussain (1952- 1999), between the mid-1980s and the early 2000s. This post-Emergency period is marked by the spectacle, symbolism and horror of the Babri Masjid demolition (December 1992) and numerous instances of targeted violence against minority communities (1984, 1992-93, 2002). The coinciding legislative passage of economic liberalization (1991) also had far-reaching implications, including a decline in state dominance over culture and artistic patronage. I contend that these dramatic shifts in the market, media and art institutional landscape catalyzed the development of postmodernist art practices. As artists like Malani and Hussain confronted the limitations and failings of their postcolonial, cosmopolitan imaginaries, their artistic responses were driven by the affective and reflexive tendencies of despair and melancholia, enlivening radical praxis in the face of derailments and lost causes. My work problematizes the notion of rupture that has often been deployed in discussions of these artist’s trajectories, referring to the transition from conventional formats of oil painting and sculpture towards expanded media experiments⁠. This study examines both specific shifts and underlying continuities in the formal and conceptual registers of the practices in question, while situating theoretical debates around postmodernism, feminism, periodization and artistic generation in the context of India.

No description available.

This paper aims to discuss the video art work of Thando Mama as an example of a black South African video artist. It takes in mind the reality that video art in South Africa has high entrance barriers due to the technological knowledge resources needed to practice thus becomes an elite art. The paper also contextualises video art within its historical practice as an avant garde art as well as its social development usage. Mama's videos are a tool to communicate identity issues as represented in contemporary art with a particular focus on the South African experience.

This study problematizes how the history, theory, and practice of art education (as documented) have predominantly focused on visually-based artworks and on visual aspects of other, multi-sensory artworks. I posit that existing pedagogical approaches become particularly limiting when addressing contemporary artworks that engage multiple senses and question how art educators might adapt such paradigms to consider individual learners’ multi-sensory experiences—particularly, aural, bodily, and spatial, as well as visual, experiences—as they operate in relation to video art in installation. To offer a point of reference for subsequent discussion, I narrate and interpret my own multi-sensory experience of Krzysztof Wodiczko’s "...OUT OF HERE: The Veterans Project" (2009), and then situate both visual and non-visual aspects of my experience in relation to various possible experiences of time, still and changing images, sound, the static or mobile body, other bodies, and space. By synthesizing and building upon recent scholarly literature pertaining to interpretation, multi-sensory and bodily experience, and learner-centered pedagogy, I consider theoretical and practical implications for teaching and learning with video art in installation, and recommend art educators’ mediation through creating communities of questioning, listening, and “speaking with,” in addition to looking. Throughout this study, I argue that encouraging learners to interpret their individual bodily and sensory experiences of artworks should be considered an essential part of the process of making meaning of those artworks in art education environments and, more importantly, of the process of helping learners to become more critically aware of their own sensory experiences in the world. / text

An analysis and explanation of my reasons for working in video, painting and drawing, and sculpture, considering the technological developments of the past decade; the possibility to use the internet as a distribution tool for works of art, and to shift the decision-making balance of the art-world; the ways that this approach is a democratic format for output in the arts and within communities of artists; an explanation of my studio practice while a graduate student at Virginia Commonwealth University.

No description available.

La contrainte positive de Barney permet d’'aborder la capacité du dispositif à produire des usages qui, parce que contraints, s'avèrent féconds. Les corps monstrueux sont analysés dans le genre vidéoludique horrifique à partir de cette problématique de la fertilité artistique des dispositifs de contrainte développant une nouvelle approche iconologique tant des enjeux de la relation vidéoludique à l'image que du pouvoir générateur des monstres. Les dispositifs sont conçus comme parcours dont la spatialité est étroitement liée aux idées de clôture et d'obstacle. En écho à Jankélévitch, ces entraves se constituent en organes-obstacles engageant à une pratique où le malgré est paradoxalement le grâce-à. Le recours à l'entrave est souhaité en vue d'un processus génératif ne pouvant prendre corps qu'au risque de l'épreuve d'un déplaisir, d'une «horreur délicieuse» engageant à approfondir l'affinité entre le sublime et la façon dont les dispositifs de contrainte se constituent à travers l'expérience de plaisirs négatifs, d'une disconvenance conduisant selon Schiller à une convenance supérieure. Au-delà de la conjuration de la stupeur horrifiée, par l'artialisation de l' image, l'ouverture iconologique interartiale (picturale, vidéoplastique...) et mythologique permet la mise à jour heuristique de la genèse du monstrueux par un dispositif de contrainte (Tête de Méduse, Rubens) et de la résistance par impossibilité de la capture (Protée) qui conduit à examiner les dispositifs irréductibles à !'enclosure et la question de l'absence de contrainte comme contrainte paradoxale, induisant l' exercice de la mètis qui permet d'éviter l'achoppement dans le clos comme la perte dans l'ouvert. / The notion of positive restraint (Barney) brings to light the apparatuses' ability to produce practices that prove to be fertile, because restrained. Monstrous bodies in horror video games are analyzed from the perspective of the restraint apparatuses' artistic fertility, thus elaborating a new iconological approach to the image issues in videogames and monsters' generating power. Apparatuses are understood as routes whose spatialit is closely linked to the ideas of enclosure and obstacle. Echoing to Jankélévitch, these constraints establish organs-obstacles that set in motion a practice in which despife is paradoxically thanks to. Submitting to constraint engages a generalive process that can only take shape in the presence of a displeasure trial, a "delightful horror" leading us to investigate further the link between sublime and the way restraint apparatuses are grounded in the experience of negative pleasures, of a unsuitability leading, according to Schiller, to a superior suitability. Beyond discharging oneself from horrified stupor by the "artialisation" of the image, the interartial iconological (pictorial, video...) and mythological fields allow us to explore the genesis of monstrosity by restrainl apparatuses (Rubens' Medusa). It also underlines the idea of resistance by the impossibility of capture (Proteus) that leads us to examine the apparatuses without considering them as necessarily linked to closure, and the question of the lack of restraint considered as a paradoxical restraint, which leads to the practice of mètis that enables to avoid stumbling in closed spaces as well as getting lost in wide open spaces.

Percebendo no lentíssimo voo dos aeromodelos F1D um sublime que a aceleração contemporânea subtrai à vida, a presente pesquisa busca formular hipóteses em torno ao fenômeno desacelerante desse voo; para tal, entendese a \"dúvida\" enquanto potência e o \"desconhecido\" como instância de liberdade. / Observing the F1D\'s slow flight, we can realize a sublime feeling that contemporary acceleration subtracts from life. Our research looks for hypotheses about this deceleration generated by the F1D; besides that, we take the \"doubt\" as potency and the \"unknown\" as a field of freedom.

Through the study of Kwai, a popular short-video social media platform in China, this thesis investigates the social issues, media class divides and aesthetics specific to Kwai culture. It further proposes a strategy of artistic practice - parallel narrative - an experiment in video art production and editing techniques that explores new possibilities of narrative in video art. Integrating theoretical research on Post-Internet art and object-oriented ontology, this thesis reveals people’s ability to digest multisource information and shows how mobile technologies and open-source materials contribute to the formation of parallel narratives.

The Birth is a multi-media video installation inspired by my personal experiences of a miscarriage and the births of my two children. The work is influenced by the mythologies found in Korean culture that focus on the mother figure as a ¡°Great Mother¡±. She is an ¡°ideal woman¡±, a ¡°good mother¡± and a ¡°sincere wife¡±. Working abstractly across the media of painting, video, digital animation, and the paintings of my son, The Birth exploits metaphors and symbols, to tell the story of women, especially the stories of mothers. The work speaks to motherly love and my own identity as an artist and a mother.