The Impact of Film, Video Art, & Photography

photography by Patricia Fortlage

Each artform of film, video art, as well as photography could easily be discussed by themselves in a Titan Contemporary Journal essay, and will be in the future, but for now the purpose of this article remains to bridge the relationships, similarities, synergies, and differences between these modes of expression. The contrast between film and video in contemporary art can be found in several elements. Arthouse films tend to depict a narrative, even if the story could be described as non-linear or abstract, there remains at least a somewhat coherent structure with a central focus on characters, creatures, or nature. Video art, on the other hand, remains entirely conceptual and often depicts repetition or visual distortions with the sole purpose of communicating an idea or presenting manipulated visual substance. Photography can be both conceptual and / or narrative-based because the artform relies on a single solitary moment, rather than sustained motion and audio, expressing an initial and final reaction rather than a continual presentation. What makes all these artforms so impactful on contemporary art would be the ability to capture form, characters, and structure based in reality (at least initially), rather than interpreted through painted, carved, or assembled imagery. Film, video art, and photography are more reliant on subject matter and therefore increasingly conceptual and narrative-based compared to most other artforms and synergizes well with other modes of expression such as performance and theatre. At least initially; film, video art, and photography remain documentative in approach by seeking the allure of the subject through realism, pixelization, grainy texture, chemical processes, audio, and the capturing of performative actions. 

film still by Richard H. Alpert

Straight video art remains one of the least commercially-viable artforms available, there are so few collectors of video art to the point where the only venues you are most likely to view the artform would be in a gallery as an installation or online. Arthouse films on the other hand receive significant exposure at many international film festivals and sometimes are even broadcast at independent theatres as well as projected in galleries in a similar manner as video art. Such a reality does not mean video remains inferior to film, as a result, one artform remains more accessible than the other. Video artists remain determined to express themselves outside of direct narrative and wish to convey experiences entirely based on repetitive visual action, distortion and indirect or poetic audio. Meanwhile, arthouse films impact the audience through meaningful narrative dipped in conceptual approaches while video remains more puristic as an art steeped in concept. Filmmakers such as the late David Lynch and Stanley Kubrick have achieved widespread recognition and achievement for their films because they portrayed arthouse concept in an accessible manner through high production values, clever writing and editing, as well as working with mainstream distribution studios. However, there are many international arthouse filmmakers who have yielded significant influence on the artform, even if they are not household names like Lynch and Kubrick.

photography by Haleigh Lennox Brewer

Arthouse filmmaking, video, and photography all capture performance and / or  installation in a manner consistent with contemporary art. We will be discussing several artists from the Artist Feature Catalogue who do so. Richard H. Alpert, Anastasiia Marinich, and Javiera Estrada can be described as being arthouse filmmakers, even though Richard blurs the line between film and video art. James Kenny, Luca Granato, and Janet Chan are clearly video artists with their approaches. Patricia Fortlage, Giorgia Valli, Haleigh Lennox Brewer, Alnis Stakle, and Richard Gibson are the photographers we will be discussing in the article, mainly because their works have a cinematic or video art quality to them. The reader should note, Anastasiia Marinich, Javiera Estrada,  and James Kenny are also photographers in addition to specializing in motion pictures. 

photography by Giorgia Valli

In terms of arthouse filmmaking, Richard H. Alpert tends to focus on industrialization and mechanical processes such as filming his own installations or methodically capturing machines as well as modes of transport in action. His process can be described as blurring the line between film and video because although there remains visual repetition and a clear narrative based on concept, the machines in his work appear as if they had a story to tell. Both Anastasiia Marinich and Javiera Estrada are performance art filmmakers who create elaborate theatrical productions with handmade wardrobes, carefully choreographed settings and sets, as well as a full cast and crew. Their short films are based on non-linear narrative which express the essence of their characters through haunting music and carefully orchestrated acting, rather than through dialogue. 

video still by Janet Chan

With video art, artists such as James Kenny,  Luca Granato, and Janet Chan reflect deep inclinations on distortions, repetition, ominous audio as well as imagery conveying conceptual approaches or poetic inclinations. James Kenny superimposes landscapes and various imagery together with reflective, thunderous audio as well as also creating long exposures with the film. Luca Granato establishes both performance and installation by his video art with characters conducting repeated actions such as literally raking sea waves with a farming hoe combined with assembling raw concrete and other elements installed at a gallery with his presentation. And Janet Chan captures distorted, pixelated video of landscapes while driving. These images are accompanied by poetic passages and appear so distorted they appear like a fantasy-based shoreline during an electrical storm, similar to the introduction of Morrowind. 

video still by James Kenny

Photographers such as Patricia Fortlage, Giorgia Valli, Haleigh Lennox Brewer, Alnis Stakle, and Richard Gibson contain cinematic qualities to their works. Patricia Fortlage is a conceptual photographer who captures elaborate dramatic self-portraiture and still lifes communicating the irony of grasping with chronic illness. In addition to photography, Patricia has a blog on Substack, in both the blog and photography, she communicates the frustrations and impact of her illness along with the failings and lack of empathy from the healthcare industry and professionals. Giorgia Valli will expose her analogue photographs to the elements of nature outdoors to distort the pigment, ink, and paper. The conceptual meaning of her work entails surrendering control and embracing the unknown. Haleigh Lennox Brewer is also a conceptual photographer who captures the ironic posture and narrative of being a twin. She captures both still lifes and actors in meaningful performances which communicate the frustrations and harmony of connecting and disconnecting with her twin. Alnis Stakle uses analogue photography and lab processes to chemically alter abstract imagery. He will sometimes even burn his photograph or subject, such as paper or cloth, in order to capture deep textural substance in his pieces. Richard Gibson is a figurative photographer who captures models integrating or contrasting with technologically-based or manipulated environments with fashionable wardrobes and striking poses. His performative works are steeped in dramatic and theatrical effects through high contrast and complex lighting techniques. 

photography by Richard Gibson

All of these artists communicate an inclination to express deeper concepts and narrative which teach us about the complex nature of relationships in contemporary society. Film, video, and photography remain some of the most innovative ways to express contemporary identity because of the inherent documentative nature of the mediums. By capturing both staged installation (such as set design) and performative actions, the artforms express integrative methods in combining multiple mediums into a single mode of expression. In terms of abstraction; film, video, and photography reveal corrosive qualities which remain distinct in lab processes, digital editing, and analogue applications. 

video still by Luca Granato

In essence, what makes contemporary art truly contemporary would be the applications of narrative and concept. Through film, video art, and photography, the artist may express our complex times in a manner which exemplifies and explains the impact institutions, media, sociological applications, and relationships have on our collective and individual psyche. Like performance art; film, video, and photography reveal the theatrical elements in our lives and minds which express both the lighthearted and dark aspects of interpreting ourselves, our communities, as well as our civilization as a whole. These artforms are communicative in nature through their journalistic and documentative tendencies which convey the artist’s interpretation of their environments, either imagined or metaphorically revealed. 

photography by Alnis Stakle

film still by Javiera Estrada

film still by Anastasiia Marinich

photography by Haleigh Lennox Brewer

photography by Giorgia Valli