摘要
Literally and figuratively, video art is not viewed in the same way as traditional forms of art. It is often relegated off to its own room or comer of a gallery, and when we see video, we think of film and conjure the idea of passively viewing a story with a set beginning, middle, and end. This is reinforced by the fact that most video art has a playing time listed or is viewed in a darkened room in the same way as one would view a movie. Alternately, once a painting is hung, the artist is no longer in control of the way it is viewing the story. The viewer now determines the time and narrative. This paper looks at a new way of expressing video art by analyzing the installation ＂The Four Horsemen of the Apocalypse＂. The animations that are part of the installation are edited as the viewer is experiencing it in an attempt to approximate how we view a painting. Finally, the impact of the installation is compared to a short film created from the same footage; this time, it is viewed in a dark room with the artist in control of how the story unfolds.
