Editing Video art (section)

==In the 1970s==
Much video art in the medium's heyday experimented formally with the limitations of the video format. For example, American artist [[Peter Campus]]' ''Double Vision'' combined the video signals from two Sony [[Portapak]]s through an electronic mixer, resulting in a distorted and radically dissonant image. Another representative piece, [[Joan Jonas]]' ''[[Vertical Roll]]'', involved recording previously-recorded material of Jonas dancing while playing the videos back on a television, resulting in a layered and complex representation of mediation.

[[File:Joan Jonas Vertical Roll.jpg|thumb|left| A still from Jonas' 1972 video]]
Much video art in the United States was produced in New York City, with [[The Kitchen (art institution)|The Kitchen]], founded in 1972 by [[Steina and Woody Vasulka]] (and assisted by video director [[Dimitri Devyatkin]] and [[Shridhar Bapat]]), serving as a nexus for many young artists. An early multi-channel video artwork (using several monitors or screens) was ''[[Frank Gillette#Wipe Cycle.2C 1969|Wipe Cycle]]'' by [[Ira Schneider]] and [[Frank Gillette]]. ''Wipe Cycle'' was first exhibited at the Howard Wise Gallery in New York in 1969 as part of an exhibition titled "TV as a Creative Medium". An installation of nine television screens, ''Wipe Cycle'' combined live images of gallery visitors, found footage from commercial television, and shots from pre-recorded tapes. The material was alternated from one monitor to the next in an elaborate choreography.

On the West coast, the San Jose State television studios in 1970, [[Willoughby Sharp]] began the "Videoviews" series of videotaped dialogues with artists. The "Videoviews" series consists of Sharps' dialogues with [[Bruce Nauman]] (1970), [[Joseph Beuys]] (1972), [[Vito Acconci]] (1973), [[Chris Burden]] (1973), [[Lowell Darling]] (1974), and [[Dennis Oppenheim]] (1974). Also in 1970, Sharp curated "Body Works", an exhibition of video works by [[Vito Acconci]], [[Terry Fox (artist)|Terry Fox]], [[Richard Serra]], [[Keith Sonnier]], [[Dennis Oppenheim]] and [[William Wegman (photographer)|William Wegman]] which was presented at Tom Marioni's [[Museum of Conceptual Art]], San Francisco, California.{{Citation needed|date=February 2011}}<ref>{{Cite web |title=Body Works: An exhibition in coordination with Willoughby Sharp |url=https://edan.si.edu/transcription/pdf_files/8400.pdf}}</ref>

In Europe, [[Valie Export]]'s groundbreaking video piece, "Facing a Family" (1971) was one of the first instances of television intervention and broadcasting video art. The video, originally broadcast on the Austrian television program "Kontakte" February 2, 1971,[11] shows a bourgeois Austrian family watching TV while eating dinner, creating a mirroring effect for many members of the audience who were doing the same thing. Export believed the television could complicate the relationship between subject, spectator, and television.<ref>{{cite web|url=http://www.eai.org/title.htm?id=6472|title=Electronic Arts Intermix: Facing a Family, Valie Export|work=eai.org|url-status=live|archive-url=https://web.archive.org/web/20101225155438/http://eai.org/title.htm?id=6472|archive-date=2010-12-25}}</ref><ref>{{Cite web|last=Cavoulacos|first=Sophie|date=2021-12-21|title=VALIE EXPORT's Facing a Family|url=https://www.moma.org/magazine/articles/676|access-date=2022-01-28|website=Museum of Modern Art New York (MoMA)}}</ref> In the United Kingdom [[David Hall (video artist)|David Hall]]'s "TV Interruptions" (1971) were transmitted intentionally unannounced and uncredited on Scottish TV, the first artist interventions on British television.