Installation Art (Zoe Pruitt)

        What I noticed about this chapter is that the art tended to follow distinct themes. I suppose this is mostly due to the authors organization of artistic events, rather than describing installation art linearly he prefers to write categorically. However, the decision to write in this manner also suggests that video artists have subconsciously adopted a set of political topics to discuss amongst there work. 

The newsroom, for example, seemed to be a principle topic of discussion for many of the artists, especially artists who incorporated a physical television or the viewing process into there work. This is interesting when compared to last weeks section, which focused a significant amount on the influence and potential hazards of the television; having a strong opinion about an object appears to make it an ideal art tool. 

The prevalence of art about television could also be due to the Vietnam War. Many of the art pieces described were made in the 70s, and no doubt the presence of television was particularly salient at the time. The newsroom was the provider of war news about death, enemies, failure, and victory. People watched the news to become more globally aware and keep up to date on the status of their country men and loved ones. More importantly, it’s where people witnessed the horrors of war. And in the same way that art about the television newsroom reflected the period, pieces about feminism also began to become more prevalent during the feminist movement. Art about surveillance came into being after Olean, New York implemented surveillance cameras on the city streets. 

The most interesting thing about video art is that it is a perfect reflection of reality and real world problems; the medium and its reflection on reality lends itself to concrete, political, and everyday problems. 

Bill Viola- Silent Mountain 2001