Performing Artist Identity Through Video Art
Kassaram Turbulent and Doku
Bibliographic Data
| ID | 21997261 |
|---|---|
| Authors | D Alper Altunay (0000-0002-3323-6584, Anadolu Üniversitesi, İletişim Bilimleri Fakültesi, Sinema ve Televizyon Bölümü, Televizyonda Yapım-Yönetim Anabilim Dalı), Elif Turan (0000-0002-2926-9746, Indus University) |
| Year | 2025 |
| Volume | 15 |
| Issue | 2 |
| Pages | 1488-1509 |
| Publication date | 2025-12-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Sanat ve Tasarım Dergisi (JOURNAL) |
| Journal identifiers | ISSN: 2146-9059 |
| Publisher | Anadolu University Journal of Art and Design (PUBLISHER) |
| DOI | 10.20488/sanattasarim.1828148 |
| OpenAlex | W4416851723 |
| Language | EN |
| References cited | 14 |
Since the mid-1960s, video has not only been a medium of mass communication but also a means of artistic expression. With many video works created by the pioneer artists of the period, on the one hand, the characteristics of the medium were tried to be revealed, and on the other hand, the possibilities of electronic technology began to be used for the first time in the process of combating the stereotypes that existed in the art world. During this process, while artists rediscovered the unique characteristics of video within art, they began to produce different works within the changing cultural structure. In the first applications of the avant-garde approach, it is possible to come across different examples in a wide range of areas, from feminist video works to recordings on ethnic identity, from alternative video works targeting television broadcasting to guerrilla video recordings questioning male-dominated art. This study examines the artist’s identity as a construct shaped by social, cultural, and individual factors through the lens of video art. The study analyzes three video works through their medium-specific approaches and the artist’s constructed identities. The video works that are analyzed: Thania Petersen’s Kassaram (2020), which critiques colonial stereotypes through collage and fragmentation of the body; Shirin Neshat’s Turbulent (1998), which deconstructs gender roles through the contrasts in form and content; and Lu Yang’s DOKU The Flow (2024), which reimagines identity through digital art and Buddhist teachings. The research illustrates how video artists challenge and redefine identity, integrating form, content, and the historicity of the medium as an artistic expression
Cultural heritage · Cultural identity · Digital media · Entertainment · Video art · Video editing · Art Education and Development · Art, Politics, and Modernism · Visual Culture and Art Theory
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| Citation velocity | historical |
|---|---|
| Highly cited | No |