Performance and Video Art started to enter the art world in the late 60s.
had the ability to be a part of their artwork, or they had the ability to create what was .
shown on the infamous television through the use of tape. Since the turn of the 20th .
Century, and we entered the age of moving images, technology began to explore .
avenues in which the canvas could not. The impact Performance and Video had on the .
art world was enormous, suddenly all the barriers of art were broken ushering in a .
new age of art, thought, and imagination. From the humble beginnings of .
Performance and Single Channel Video to dramatic Video Installations at rock .
concerts, Performance and Video have in many ways become the new art. The art .
chosen by those who deny there should be boundaries.
Art practice first experienced the process as being an artistic statement in the late 40s. .
Jackson Pollock, through the process of dripping paint on canvas elevated art practice .
from process to another level of art making, which encompassed the notion that the .
act of art making is in fact art itself as well as that of the finished physical piece. From .
these early beginnings, staging the artistic process before an audience became what is .
known as Performance Art, whereby an event or physical happening in fact was the .
work of art. As is common with contemporary arts, Performance Arts beginnings .
again can be in part attributed to Marcel Duchamp, when by shaving a star into his .
head in 1921 spawned the notion of the event or act becoming art. Just as Duchamp .
shaving a star into his head inspired Performance Art, the notion of capturing an event .
or performance and then in turn presenting that captured event became what is known .
as Video Art. Rush states that when, "Nam June Paik bought one of the first Sony .
Portapak video sets in New York ", Video Art in turn was born. Whilst this may or .
may not be accurate is irrelevant in that since the advent of film, it seemed inevitable .
