Video Art Quotes

Things have to hit for the moment. That's one of the reasons I'm into video; the image has to hit immediately. I adore video and the whole cutting up of it.

I started using film as part of live theatre performance - what used to be called performance art - and I became intrigued by film.

I think I started doing more of the video probably in college. My major was multimedia, so it was probably closer to then because that wasn't really readily available and easy to do.

I make video art pieces, take photographs, and dabble in acting ever since my screen test for 'Memoirs of a Geisha' with Steven Spielberg. But music is my first love and always will be my priority.

I see videomaking as an art - it's not a process for me.

I always saw myself as a multi media artist.

Perhaps at some time in the future, when you ask a friend to come up and look at your etchings, you will plug in your collection of video art.

I went to film school, and I came in when video art was king, weird stuff was king, and there, you don't have a script as your bible.

Find the most puzzling kind of art you can think of, and then go out and try to approximate it with your camera. Take a photograph that corresponds to it. (Assignment to students.)

You are an artist. What work of art will you leave behind?

I'm super into dudes like Megazord, Jon Rafman, Rasmus Emanuel Svensson, Tabor Robak, and Michael Willis to name a few.

I made video art for quite a long time, and I made this video covering myself in burgers and dancing to Major Lazer and doing covers of Britney Spears songs... I can't remember how I got there, but my teacher said he'd have to fail me because it had mild nudity.

I'm not so much in the future as always in the present. The future always takes care of itself. What I do now with my video camera, it can only record what is happening now. I am celebrating reality and the essence of the moment. And that's the greatest challenge that I have.

In the 1970s, a lot of critics didn't understand video. I got a lot of bad reviews. But film-makers didn't understand what we were doing, either. There were actual fistfights between film-makers and video-makers. I was witness to one.

I love video.

I got really excited about finding new ways of using video, and the immediacy is different, in a way, than painting and photography. The creativity comes with the editing. You can layer and cut and paste. I really love that it's like another form of making my smaller collages but in video form.

My visual medium is my videos, and I've got to feel as though I can put my truth in that.

My real motivation came from my quest for music videos to have the equally soul-touching emotional resonance that straight music does. Honestly, I'm not sure they ever can.

Most of my videos consist of fragments, one or two minutes long. They are haikus or sketches. I have thousands.

The path that Lonely Island took got us excited to think we could get somewhere legitimate by making little videos.

I came of age at the end of the 1960s, just when video was also coming into the world. Companies such as Sony and Panasonic were starting to market it and we artists immediately knew how it could be used.

The durational aspect of video art is very different from photography or sculpture. The idea of looping things interferes with that a little bit. It eliminates that finite viewing period which I think is not so expressive sometimes.

Pipilotti Rist is a Swiss video artist I learned about pretty early on. She's one of the first contemporary artists I knew about and was really drawn to.

I gravitate toward contemporary art. I love great paintings, sculpture, photography, some video art.

Many of the short videos on Vine feel as though they belong to an ever-evolving, completely new genre of modern folk art.