Acknowledgements
Introduction
1 Counterculture and Feedback
Prologue: Utopia
Television Art and Postwar America
Gene Youngblood’s Expanded Cinema
Feedback in Radical Software
Video in Mass Media
Lesbian Mothers: Activist Documentary
Video as a Confluence of Cold War Liberalism
Keith Sonnier and Early Video Criticism in Artforum
Philip Mallory Jones: Afrodiasporic Polyrhythms
Summary: Early Video
2 Formalism and Medium Specificity
Prologue: Medium
Between Greenberg and McLuhan
The Limits of Formalist Criticism
Changes in Feminism: Critiquing Dynamics of Power
The Aesthetics of Documentary Video
Defining Video Against Film
Repetition: Structural Film, Minimalism, and Video Art
Formalism Redux
Juan Downey: Decolonization
Summary: Turning Video into Art
3 Politics and Video
Prologue: Praxis
Flo Kennedy: Multitude
Distribution and Access I: Broadcasting
Rudy Martin: Televisual Sovereignty
Distribution and Access II: Sales
Joan Jubela: Trans and Non-Binary Aesthetics
1980 Kitchen Symposium: Television/Society/Art
Video’s Postmodernist Form
Simulation: Under the Nuclear Threat (Again)
Ayoka Chenzira: Haptic Cinema
Summary: The Eighties
Biography
Liz Kim is Lecturer in Art History at Texas A&M University-Kingsville.
'Liz Kim's meticulous and revelatory study offers a fascinating set of pathways into the still under-examined history of early video art. Locating video as a tool, a medium and a forum for aesthetic and political debate, Kim's book will become an invaluable resource for art and media historians looking to chart a path through this muddy and vital period of video's early years in the United States. A signal achievement, Kim's gathering of diverse and often overlooked resources and case studies and her penetrating, fluid style means this is sure to become a central text in the art history of moving images.'
-Tom Day
