| The History | | | | The Artists |
| The birth of Video Installation Art, a combination | | | | Gary Hill (born 1951), Tony Oursler (born 1957), |
| of video technology and Installation Art, dates | | | | Doug Aitken (born 1968), Bill Viola (born 1951), |
| back to 1970s, the era of Video Art (1970s), | | | | Vito Acconci (born 1940), Gustavo Aguerre (born |
| which relied on motion pictures. Video Art, a | | | | 1953), Kutlug Ataman (Turkish - born 1961), |
| tangent of Contemporary Art, comprises of video | | | | Matthew Barney (Born 1967), Sylvie Belanger |
| and/or audio data. Video Art is named after the | | | | (Canadian - born 1951), and Nancy Buchanan (born |
| video tape, as it was commonly used then. Now | | | | 1946) - all American except the ones specifically |
| however, CD-ROMs, Hard Disks, and DVDs have | | | | mentioned. |
| replaced the video tapes. Korean-American artist | | | | The Art Works |
| Nam June Paik (1932-2006) was the pioneer of | | | | One of the most famous video installation art |
| Video Installation Art. He used various television | | | | works is the 'The Crossing' (1996) by Bill Viola, |
| monitors in arranging sculptures, and went on to | | | | introducing a man consumed by flames on one |
| work with video walls & projectors, to | | | | half of a huge plasma screen, while he is shown |
| create large imperial environment. | | | | under a water shower in the other half. This art |
| | | | was created to make us understand our 'self,' |
| Video Installation Art exploits all the features of | | | | beyond our body. As the body dies and vanishes, |
| its surrounding environment in order to influence | | | | a new self appears with a new consciousness. |
| its spectators. It has no actors, no dialogues, and | | | | Gary Hill's 'Tall Ships' (1992) is another milestone in |
| no plots. Therefore, such artworks should not be | | | | the field. One more notable video installation |
| mistaken as films. It is a kind of site-specific art | | | | example is 'Electric Earth' (1999) by Doug Aitken. |
| and has a 3-dimensional design. The key element | | | | Here the public is moved to an airport by night. It |
| of Video Installation Art is space, with the | | | | has a flaming car and an abandoned shopping cart |
| creativity levels and forms being contingent on | | | | in a parallel world. A noiseless black rapper glides |
| the artists' concepts and aims. Such an installation | | | | through the setting of a city. Here, the world of |
| can be temporary or permanent, with its setting | | | | the 20th century is described, while also retaining |
| in museums, galleries, and public & private | | | | the remains of an unknown civilization. The role of |
| places. Nurtured on electricity and darkness, the | | | | black character tells the meeting of French |
| interactive art form employs everyday and | | | | existentialists with America's big city world. |
| natural materials, combined with new media, like | | | | Conclusion |
| video, sound, performance, internet, paintings, | | | | With the proliferating use of digital technology on |
| sculptures, film, photographs, audience, and | | | | the creative front, the popularity of video |
| computer. | | | | installation art is soaring! |