Dieter Daniels
“Video art is dead—long live art! Beauty has depth. History has meaning. Screw the market! Keep the faith!”.(1) The video artist Diana Thater’s rallying cry highlights a paradox: artistic works involving video are permanent features of the numerous biennales, art fairs and gallery openings, and yet the term “video art” is most often used only as a historical category, and the so-called “video artist” seems to belong to an extinct species. The status of video in the fine arts has changed fundamentally since the 80s by comparison with the status of painting, photography and film. The reasons for this change lie, in part, in the technological innovations of the medium. More important, however, is the change in the self-definition of the artists and in the new evaluation of video on the art market.
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