Rewind

Rewind

British Artists' Video in the 1970s & 1980s
Edited by Sean Cubitt and Stephen Partridge
Distribution: World
Publication date: 9/19/2012
Format: cloth 256 pages, 127 color illus., 79 b&w illus.
7.5 x 10
ISBN: 978-0-86196-706-3
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Description

This anthology explores the pioneering period of the British video art form that has become a hallmark of contemporary art. Drawing on interviews, ephemera, archived tapes, and installations from the period, Rewind brings together leading scholars in the field to lay the groundwork for a history of the people, activities, institutions, and interventions that made video art the one true avant-garde genre in 20th-century Great Britain.
Distributed for John Libbey Publishing

Author Bio

Sean Cubitt is Director of Media and Communications at the University of Melbourne.

Stephen Partridge is Professor of Media Art at the University of Dundee.

Reviews

"This is an important title on its subject, presenting new information and critical analysis, and would be of interest to most libraries with collections in the fields of art history (contemporary art, British art), film and media history, and conservation studies." —Art Libraries Society of North America

"The informal collections excavated and archived by REWIND present a much needed history of British practices. . . in addition to the value produced around the standalone artwork and independent artist." —Screen

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Table of Contents

Foreword/Artists’ video is blessed and cursed by its technology Brian Winston
Introduction: Sean Cubitt and Stephen Partridge
Chapter 1. Video: Resisting Definition, Jackie Hatfield
Chapter 2. Video as an Art: Looking into the Rewind Archive through the Philosophical
Aesthetics of Richard Wollheim, Grahame Weinbren
Chapter 3. Video between Television and Art: Interventions into ProgrammeFlow and
Standard Formats by British Video Artists, Yvonne Spielmann
Chapter 4. Artists’ Television: Interruptions–Interventions, Stephen Partridge
Chapter 5. Decay Behind a Glass Monitor: The Prophetic Deterioration of Early Video
Installation, Emile Shemilt
Chapter 6. Liveness, Performance and the Permanent Frame, Mike Leggett
Chapter 7. Vide Verso: Video’s Critical Corpus, Malcolm Dickson
Chapter 8. On the Reinvention of Video in the 1980s, Sean Cubitt
Chapter 9. A Brief History of Video – Time and Base, Adam Lockhart
End Note
About the Contributors
Bibliography
Index
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