Vocal acts: video art and the artist’s voice
This article explores the iterative ways in which artists’ voices are recorded and revisited in British video art. Examining dialogic speech acts, this multimedia contribution analyses two very different artworks: In Two Minds (made from 1978 onwards) by Kevin Atherton and Kensington Gore (1982) by...
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| Format: | Article |
| Language: | English |
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Department of Art History, University of Birmingham
2020-12-01
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| Series: | Journal of Art Historiography |
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| Online Access: | https://arthistoriography.files.wordpress.com/2020/11/holdsworth.pdf |
| Summary: | This article explores the iterative ways in which artists’ voices are recorded and revisited in British video art. Examining dialogic speech acts, this multimedia contribution analyses two very different artworks: In Two Minds (made from 1978 onwards) by Kevin Atherton and Kensington Gore (1982) by Catherine Elwes. It discusses the recording and replay of the spoken voice in these works, referring to discourses on sound (Connor, 2000; Dolar, 2006), to re-examine approaches to modernism in the late 1970s and early 1980s, and the archiving (Schneider, 2001; 2005) of such works thereafter. |
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| ISSN: | 2042-4752 |