On Horsfield: Busting the Tube

Horsfield's piece is a detailed and informative timeline of video art since artists and activists first began questioning the use of video in television and speaking out against conformity. In her paragraphs that cover early video practice, she points out that these activists were looking at video and the new equipment available as "a tool to document  a new type of direct-from-the-scene reportage that was not manipulated, biased, or reshaped in any way to distort reality...'guerilla television'." Artists used video in a way that the media did not: to actually express issues surrounding the war and equality that were non-biased.

The evolution of video art shows artists' dedication to using it as a medium. In the beginning, the quality of video was scratchy, shaky, and only presented "reel time." With the tools that artists were able to acquire, there was no cutting, no software, only the time on the film strip. So, to not waste material, artists would make videos that matched the length of the reel. This is incredible to me because I've only seen maximum five minutes of these 20, 30, and 60 minute pieces. Not only because they are so long, but because there's typically not much going on but one short series of movements replayed over and over again (probably due to the lack of editing tools).

What arises eventually is the prevalence of non-profit artist spaces funded by foundations, state arts councils, and the National Endowment for the Arts. This expanded into the acceptance of video and performance studies into university curriculums. Although artists still could not afford the kind of equipment used in broadcast television, the fact that the medium was being noticed and supported must have been uplifting for these artists. And, as technology grew, so did the availability of editing software and fancier cameras.

Inevitably, artists were soon faced with more problems. With the explosion of AIDS came another fight against the media representation of the issue. Through video, artists and activists attempted to provide information, obtain research funds, and acquire medication. Soon enough, a "culture war" arose between right-wing politicians and the gay community. Funding for artists and non-profits were greatly hindered, but luckily technology was still advancing so artists were beginning to be able to afford even fancier equipment to keep fighting with their creativity through video. This stood out to me because it is yet another example of the government latching out against activism. And this idea is relative to #ReGeneration, a film that discusses the importance of voice, and the need for activism in order to sustain our environment, our society, and our culture --> a film worth seeing.