Found 2,383 Resources containing: Video artists
Transcript: 70 pages.
An interview of Judy Fiskin conducted 2009 Nov. 9 and 23, by Hunter Drohojowski-Philp, for the Archives of American Art, at Fiskin's home and studio, in Los Angeles, Calif.
An interview of Mary Lucier conducted 1990 Apr.-Nov., by Cynthia Nadelman, for the Archives of American Art.
Transcript: 97 pages.
An interview with Dara Birnbaum conducted 2017 May 30-31, by Linda Yablonsky, for the Archives of American Art, at Birnbaum's home and studio in New York, N.Y.
Transcript: 104 pages.
An interview of Mary Lucier conducted 2011 Sept. 27-30, by Judith Olch Richards, for the Archives of American Art, at Lucier's home, in New York, N.Y.
Transcript: 97 pages.
An interview with Michael Smith conducted 2018 July 30 and August 1, by Liza Zapol, for the Archives of American Art at Smith's studio, in Brooklyn, New York.
Smith discusses memories of his home, growing up on the South Side of Chicago; his father's work in real estate in Chicago; his understanding of the contract buyers lawsuit; his recollections of the changing demographics of his neighborhood from Jewish to African American; his relationship to his mother, father, and brother; his relationship to his Jewish identity growing up; his involvement in singing, sports, and girlfriends as a teenager; the influence of television, movies, and comedy records on his childhood; his early experiences of art and watching his brother paint; his departure from Chicago and attending the University of Colorado in 1968, where his brother went, and following in his footsteps as an artist; protesting the Vietnam War and avoiding the draft; his first experience in New York City at the Whitney Independent Study Program [ISP]; his training in dance with Hanya Holm at Colorado College, his first choreographies; his studio in Boulder, and then in Chicago; his transition from painting into performance; seeing improvisation, performance, and dance in Chicago; Seeing William Wegman's work; creating his first comedy performances; influence of Jackie Vernon; developing the ideas for "Mike" and "Baby Ikki"; his early scripts and performance notes; influence of Alfred Jarry and Richard Foreman; his script, costume, and movement for "Baby Ikki"; the creation of Comedy Hour in Chicago, and other early "skits"; the inspiration for Minimal Message Movement; Coming to New York and meeting Marcia Tucker; his inclusion in Performances: Four Evenings, Four Days, at the Whitney Museum; performing at the Collective, Artists Space, Franklin Furnace, and other downtown locations; living in SoHo and the East Village in New York; developing a sense of timing and pacing in his early work; the sets and props of Let's See What's in the Refrigerator; the social commentary or politics of "Mike"; creating the composition and set of Notes for a Rec Room; his notebooks, nation and brainstorms for work. In session two, Michael Smith describes his sense of humor; Jackie Vernon and his sense of delivery; the humor of Jacques Tati and Buster Keaton; creating his first work composed for video, Secret Horror; his relationship to music, punk, New Wave, Muzak, rap, and his band the Social Climbers; his involvement with the Times Square Show and Colab; creating more video work that placed Mike in a cultural context with Government Approved Home Fallout Shelter, Go For it, Mike, Death of a Salesman, and others; collaboration with William Wegman on World of Photography; working with Steve Paul on live variety shows such as Mike's Talent Show, and Mike's TV Show; creating work for Saturday Night Live and Cinemax; creating Mike's Kiddie Show and working with Doug Skinner; the changes in arts funding in the 1990s; Working with Joshua White and creating Musco; starting to work in education and teaching in Los Angeles, at Yale, and at the University of Texas at Austin, Teaching performance art and specific assignments; a photographic series of class photographs; Creating Open House at the New Museum, and Interstitial for the installation; Returning to Baby Ikki and working with Mike Kelley on A Voyage of Growth and Discovery; his friendship with Mike Kelley; his thoughts about infantilist themes with "Baby Ikki", The theme of aging in his work and current work,; the creation of Excuse Me!?!...I'm Looking For the "Fountain of Youth," and Not Quite Under_Ground, commenting on social practice art; planning for his next project in Mexico City; his relationship to performance art; his dealers; curators, his response to critiques; his archive and thinking about his legacy. Smith also recalls Ron Clark, Malcolm Morley, Brice Marden, Carl Andre, Lawrence Weiner, Hanya Holm, Vito Acconci, Jim Self, Barbara Dilley, Mike Kelley, John Baldessari, Dike Blair, Mark Fischer, Carole Ann Klonarides, Eric Bogosian, Charlie Ahearn, Dick Connette, Mark Bingham, Alan Herman, Tim Maul, Amy Sillman, Andrea Blum, Sharon Hayes, Chuck Nanney, Annette Carlozzi, Toiny Castelli, Patty Brundrage, Christine Burgin, Emi Fontana, Chris Dercon, and Jay Sanders.
A couple of years ago, video game designer Kellee Santiago and film critic Roger Ebert got into an online debate over whether video games qualify as art. Ebert, a naysayer when it comes to the subject, watched a TED talk that Santiago gave at the University of Southern California in March 2009. In it, Santiago declared that video games are art, and Ebert dug his heels in further, poking what he saw as holes in the designer’s argument. In her defense, Santiago noted Ebert’s inexperience with gaming and wrote, “It’s good for dinner party discussion and entertaining as an intellectual exercise, but it’s just not a serious debate anymore.”
Santiago, the co-founder and president of thatgamecompany, a Los Angeles-based studio that develops experimental games, even challenged Ebert to give Flower, one of her games, a try. Santiago sent Ebert a PlayStation 3 and a copy of the game, but there has been no word on whether he has played it. Flower, released in 2009, is featured in “The Art of Video Games,” a highly anticipated exhibition about gaming’s 40-year history, which opens at the Smithsonian American Art Museum on March 16.
Here, Santiago, provides her picks for five groundbreaking video games that show the evolution of the art form.
Infocom, a now defunct software company founded by MIT staff and students in 1979, was the mastermind behind Zork. The computer game came on a floppy disk and involved a player venturing into an underground world in pursuit of treasures. There were no graphics or sounds, just green text on a black background that provided narrative. The player would type in commands, such as “go west” or “open door,” to navigate the situation. “Turn on lamp” was an important one. Hungry monsters called “grues” lurked in the dark—but they retreated from light.
Zork was included in Call of Duty: Black Ops (2010) as an “Easter egg,” or hidden feature. From the main menu, the avatar, cuffed to a chair, can break free and locate an old computer running on DOS. Typing the word “Zork” brings you to the much-loved game.
From Santiago: Although there are probably a number of "top" multiuser dungeon, interactive fiction games that my esteemed colleagues in the games industry would list here, Zork was the one I grew up with. To me, it sums up the first age of digital games and what they could provide. Completely text-based, the graphics lay in the infinite imaginations of the players, making the world appear vast and magnificent. There was a real sense of place, of possibility, and the experience of playing it on a computer was completely unique.
Super Mario Bros. (1985)
Who can forget Super Mario Bros.? Nintendo’s spinoff to its 1983 game Mario Bros. stars Mario, a plumber, and his brother, Luigi, in a quest to save Princess Toadstool from the evil Bowser, a spiky-looking turtle. The game helped to popularize the side-scrolling format, in which characters were seen in profile traveling from the left side of the screen to the right. Collecting coins and mushrooms help Mario and Luigi progress through multiple worlds. Super Mario Bros. reigned supreme as the best-selling video game until Wii Sports ousted it from that position in 2009.
From Santiago: This is the first game where I remember thinking, "Oh my goodness. You can control cartoons on the TV?!?" Looking back, it seems almost ridiculous, but the team at Nintendo extracted so much personality out of those pixels. Like early cartoonists before them, they showed that we didn't need to wait for the invention of complex technologies to make emotionally compelling characters and memorable scenarios.
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Halo 2 (2004)
Released on Xbox and later Microsoft Windows, Halo 2 transports players to the 26th century and an alternate universe, where a superhuman soldier, Master Chief, is fighting against the Covenant, an army of aliens. This sequel to Halo: Combat Evolved (2001) is a first-person shooter game that allows for multiple players as well as online competition through Xbox Live.
From Santiago: The environments in Halo 2 were absolutely stunning, and the fact that you could share the experience of them online was unbelievable! It was another "We've come so far!" moment for me in gaming. The music, the visuals, the character designs—they were all taken to a whole new level.
Indigo Prophecy (2005)
Game designer David Cage has called his Indigo Prophecy an “interactive drama.” The game, available on multiple platforms, has a cinematic quality to it. Yet, the story line plays out like a “choose your own adventure” book, in that it adjusts based on choices, often moral, that the player makes.
The plot begins with Lucas Kane, the protagonist, killing a man at a diner in New York City. As subsequent murders occur, the player, who can control Kane and other characters, is charged with solving the crimes.
From Santiago: This 3-D, second-generation console game really pushed the envelope of interactive storytelling and engagement in games. It threw away practically everything everyone had gotten used to when it came to using the console controllers and interface design and showed that we had only scraped the surface of possible experiences in games.
The Night Journey (2011)
A more obscure game, the Night Journey is the result of a collaboration between video installation artist Bill Viola and the University of Southern California Game Innovation Lab. Players navigate through a shadowy, black-and-white landscape, inspired by Viola’s 1994 piece called “Pneuma.”
The game is meant to be a “trip along a path of enlightenment.” If there is a so-called winner, it is probably the player who patiently navigates through the setting. If a player moves through too quickly, the surroundings blur. But, if he or she explores leisurely, color is brought to the scenery.
From Santiago: You walk slowly through a black-and-white environment and are given the opportunity to sit and meditate at various points in the world. The meditations turn into surreal imagery, and the more you meditate, the longer the night can last. It is such a personal work, and so beautiful.