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Title: Mapping the image : an investigation into the relationship of video art in the UK and the USA to changes in moving image technology, with emphasis on the development of my fine art practice, including an exploration of its context and an analysis of influential and seminal works, and the production, exhibition and analysis of three new video installations
Author: Meigh-Andrews, Chris
ISNI:       0000 0004 2729 802X
Awarding Body: Royal College of Art
Current Institution: Royal College of Art
Date of Award: 2001
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This thesis presents evidence of an extended period of research which has both a practical and a written outcome. Being primarily practice-based research, its principal outcome is the production and exhibition of three new video installations featuring the use of digital imaging techniques in their production, combined with the utilisation of sculptural display structures in their presentation and exhibition. The three works under consideration are Mind's Eye (exhibited July-Aug. 1997); Mothlight (exhibited April 1998, April 1999 and May 1999); and Merging/Emerging (exhibited June-July 1999). The thesis contains an extended discussion of the concepts and concerns behind these works, as well as an analysis of the interrelationships between them and my previous video installation work produced in the period between 1990 and 1995. (The appendix to this thesis contains the original proposals for these three new works, as well as a CD Rom with documentation of the exhibited works.) The other main component of this research is an exploration and discussion of the influence of significant changes in video imaging techniques on the development of video art in the United States and the United Kingdom. in the period between 1960 and 1990. This evolving relationship between video technology and video art is explored predominantly through an examination of art works and statements made by particular video artists who's work is relevant to my concerns, but also includes observations and statements by critics, writers and curators who are concerned with the development of the medium within a fine art context. Section One examines and discusses the historical and cultural context, tracing the evolution of video as an art form in relation to significant developments in the technology, including its origins, discussing in some detail the emergence of the genre in its early formative period, with particular attention to the contributions of individual artists. There is a significant section which discusses the work of artists who have experimented with and built special video imaging tools in both the US and the UK. Section Two examines specific works by artists operating in the United States and the United Kingdom under four main headings, acknowledging the impact of the most significant technological developments identified in the first section. Specific video art works are discussed under the following categories: 'Non-broadcast' video, frame- accurate editing, electronic image manipulation techniques and video display equipment for installation. section Three traces the development of my own fine art practice in video during the period between 1978 and 1995, examining the influence of video technology on the work and discussing issues related to the accessibility of image production facilities, as well as the impact of this technology on the development of formal innovation and its interrelationship to content. This section also discusses and examines the influence of artists working in related areas such as experimental film and music, with a special emphasis on the influence of the avant-garde film movement of the 1970's. This section is to a certain extent cross-referenced with the previous section, as many of the artists and works cited were important to the evolution of my own fine art practice. The final section examines in detail the ideas, concepts and development of the three new video installations that form the core of this research: Mind's Eye (1997), Mothlight (1998-99) and MerginglEmerging (1999). Each installation is described in detail and discussed in relation to its ideas and themes, as well as with reference to the technical processes employed and the formal concerns of the work. This section also includes a discussion of issues in relation to notions of site-specificity.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID:  DOI: Not available