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What Are Some Benefits and Limitations of Video as an Artistic Medium?

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Artistic medium is an art critical concept that first arose in 18th century European discourse about art. Medium analysis has historically attempted to identify that out of which works of art and, more generally, art forms are created, in order to better articulate norms or standards by which works of art and art forms can be evaluated.

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While those examples are common forms of media, many artists choose to work with or incorporate less traditional materials into their work. There are no limits and the more you learn about the art world, the more oddities you will discover. Any other physical material—from used chewing gum to dog hair—is fair game as an artistic medium. At times, artists can become extremely creative about this whole media business and you may run across things in art that defy belief. You will find artists who even incorporate the human body or things derived from it as their medium. It's quite interesting and can also be rather shocking. Though you might be tempted to point, sputter, and laugh when you come across these, it is often best to gauge the mood of the company you're in. Think about where you and who is around you

Even if you think the art is unusual, you can often avoid many faux pas by keeping those to yourself in some situations. Keep in mind that art is subjective and you will not enjoy everything. The word medium is also used when referring to the substance which binds a pigment to create a paint. In this case, the plural of medium is mediums. The actual medium used is dependent on the type of paint. For instance, linseed oil is a common medium for oil paints and egg yolks are a common medium for tempera paints.

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The academic film reviewers do not feature their analysis within the print media or even the broadcast houses but they mostly present their ideas within articles, which are publicized through different scholarly articles along with the widely circulated entertainment magazines (Umbro, 2001). In addition, this group of reviewers has connections with certain colleges along with universities, which offer film studies. However, it has currently turned out that various film genres such as the comedy films along with the action movies, which are specifically marketed en masse, are not affected at great magnitudes by the judgments released by the journalistic critics. The film analysis is usually focused on the film’s plot summary along with a precise film description and it greatly dictates the manner in which people will be interested in watching the film. It has been realized that the various films types are affected differently by the reviews released by journalists to the public. For instance, the success of most of the films whose concept is based on drama is highly dependent on the nature of the analysis presented by journalists within the print media or broadcast houses (Aitken, 2001).

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To sum up, when the all-embracing aestheticisation of everyday life (extending to the aestheticisation of revolution) has stirred the boundaries between art and activism, and art and media, ‘the distanced appreciation demanded by the artwork’ is hard to achieve. It is therefore up to art whether it can still stand against reality while remaining engaged, and whether art’s capacity to challenge the status quo can be ‘updated’ in the age of new media.

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Aitken, I. (2001). European film theory and cinema: a critical introduction. Scotland: Edinburgh University Press.

Umbro, A. (2001). Futurist Manifestos. New York, NY: MFA Publications.

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