We asked leading video artists how best to view the medium (yes, it's OK to leave in the middle, and to be confused):
Video art has been around for a long time. But in the 1980s, when artist Coco Fusco was just starting out, it was “not the stuff of mainstream museums,”
Biennials have become the unofficial domain of video, often showing the broadest range of work. There were a number of video pieces in the most recent Whitney Biennial, including Fusco’s, her 12-minute rumination on Hart Island east of the Bronx, where New York City buries unidentified dead bodies. “The whole problem in art these days is about getting people to pay attention at all,” Fusco said. “If you walk through the permanent collection at MoMA or something, you see people are just wandering and not looking at paintings for very long either.”. © Stan Douglas. Courtesy the artist, Victoria Miro, and David Zwirner.
“We live in a different world in terms of the presence of the moving image from the world that I grew up in, there’s screens everywhere you go,” Fusco noted, “and when I talk to my students, the young ones are obsessed with this idea that they are unlike anybody else in the history of the world because they have grown up with phones. They’re fixated on a kind of viewing of the moving image that is like scrolling.
She, for one, is less concerned by how long viewers engage with it, focusing instead on getting them to move or navigate the space in a certain way.Bulk Pangaea
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