Video art

 is a type of art which relies on moving pictures and comprises video and/or audio data. Video art came into existence during the late 1960s and early 1970s as new consumer video technology became available outside corporate broadcasting.

Quotes

 * There are moments when Caterina is Duchampian with the digital medium, as in “UFOp (Unidentified Flying Objects Poetry)” (1999) and in “Poem in Red” (2004). You can think of Davinio’s work as something resembling the imagination without wires and the Words in Freedom, the second phase of the Italian Futurism (from 1909 to 1914), because she retrieves this technique and applies it in the digital realization of her videopoems, net poetry, in the structure of Karenina.it.
 * Jorge Luiz Antonio, in: Caterina Davinio, Aspettando la fine del mondo / Waiting for the End of the World, Fermenti, Rome 2012: About Caterina Davinio's video and net-art.


 * The shape and direction of video art's accelerated growth, since virtual nonexistence in the mid-'60s up to the present, has been influenced primarily by the priorities of major funders-the New York State Council on the Arts, the Rockefeller Foundation, the National Endowment for the Arts, among others . It has matured without the bevy of individual collectors who support more established forms such as painting and sculpture. Within video's media arts centers and funding organizations, there are many advocates, administrators, and curators who provide an infrastructure which enables artists to produce and distribute work, often doing so with little publicity or recognition. In this realm, Howard Wise stands out as an individual benefactor who preceded and has supplemented private foundations and public monies. He has been a central figure in the visibility, production, and acceptance of video art. For almost 20 years, he has been one of the few patrons of video art.
 * Marita Sturken. "TV as a Creative Medium: Howard Wise and Video Art," in: Afterimage, May 1984


 * I make installations and the final result is a video projection and the photograph. If I didn’t make video projections, then call me one thing; if I didn’t make photos, then call me another. I’m in between an installation artist, video artist and photographer. And when you work with nude bodies, you’re immediately called a pornographer or a fashion photographer.
 * Spencer Tunick in: "Interview Spencer Tunick," at coolcleveland.com, 2004


 * When I started in video I was one of two or three dozen video artists in 1970. And now, to paraphrase Andy Warhol, everyone's a video artist. Video, through your cellphone and camcorder, has become a form of speech, and speech is not James Joyce. It's great, and to be celebrated, but it has to find its own level.
 * Bill Viola, in: Leo Benedictus. "Tomorrow's world," in; The Guardian, Wednesday 12 July 2006.